


A New Song

by Oldine



Series: Songs [1]
Category: Tidelands (TV 2018)
Genre: F/M, M/M
Language: English
Status: Completed
Published: 2018-12-27
Updated: 2019-03-26
Packaged: 2019-09-28 10:22:58
Rating: Teen And Up Audiences
Warnings: No Archive Warnings Apply
Chapters: 20
Words: 21,259
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/17181164
Author URL: https://archiveofourown.org/users/Oldine/pseuds/Oldine
Summary: (Corrections posted)  It's six months after season one. New friends. New enemies. New powers. AU season 2 scripts. Episode 1, 2, 3, 4 are posted.





	1. Chapter 1

**Author's Note:**

> I realized in writing this that the actual setting and plot lines were tied to each other. Season 1 destroyed the series premise. I have an idea what season 2 would be based on, but season 1 didn’t provide enough information. As a result, I created something similar. With references to mythology. And based on the theory that Tidelanders are not the only supernaturals or without weaknesses or enemies. However, based on surviving characters or likely to survive, the story and character interactions are very different.

ACT 1

FADE IN:

EXT. AERIAL VIEW OF WATER - NIGHT

A great expanse of dark water. A light flickers under the waves and a small, personal submersible surfaces.

TEXT

Six months later.

The Sirens sing.

The submersible ejects something. It flies over the water and splashes down. The Sirens stop singing.

EXT. THE DEVIL'S TAIL BAR

It looks the same. LAMAR CLOUTIER'S SUV is parked near the front door.

INT. THE DEVIL'S TAIL BAR

It's busy.

LAMAR sits at the bar. **GANNON SHEPHARD** , late 40s. A tall, strong man wearing a long sleeve shirt, with the sleeves rolled up, and jeans.

GANNON hands LAMAR a glass of water and their fingers touch lightly. Their eyes meet. It's subtle and affectionate.

 **MRS MCTEER** sits down the bar, eying the room and drinking. She's angry.

CONSTABLE **KYLIE THOMERSON** , late thirties, police uniform walks past LAMAR toward MRS MCTEER.

MRS MCTEER looks up. She's not happy. KYLIE holds out a large manila envelope.

MRS MCTEER looks past KYLIE at CALLIOPE MCTEER, CAL, standing between LAMAR and her mother.

KYLIE

(diplomatically)

Mrs. McTeer, the court transferred Cal's inheritance to her. With the conviction overturned, and your knowledge she wasn't guilty at time, I can arrest you.

(A beat)

Leave quietly.

MRS MCTEER slams down her drink glass, getting more attention than they already had. She stalks toward the door with the paperwork. She gives CALLIOPE a dirty look. MRS MCTEER then stops and lowers her voice.

MRS MCTEER

You're not innocent, Cal. You're just like that bitch you killed to take over L'Attente.

CALLIOPE makes the effort to keep her temper under control.

LAMAR tenses, tightens his grip on his glass visible behind CALLIOPE. As MRS MCTEER speaks.

She doesn't get the response she wanted and continues toward the door.

 **LAURA MANEY** and **OLIVER BROWN** are by the pool tables. They stand close together and look romantically involved. LAURA watches MRS MCTEER leave.

EXT. THE DEVIL'S TAIL BAR

 **AUGIE MCTEER** , angry, stands with his feet apart and his arms crossed. Facing **JACKSON TURNER** , mid twenties, wearing a worn t-shirt, jeans and work boots. He's arrogant and confident. And has a holstered gun partly visible at the small of his back.

AUGIE

You're either with us or you're not, Jackson. Taking side jobs with Oliver will land you in jail. Or the morgue.

JACKSON

I know what I'm doing. The money's good, Augie.

AUGIE looks at JACKSON like he's an idiot.

AUGIE

It's not up for fucking discussion.

JACKSON turns toward the bar and walks off.

 **DYLAN** arrives on his motorcycle and parks his bike.

As the door opens and MRS MCTEER exits.

DYLAN and AUGIE makes eye contact briefly. DYLAN looks curious.

AUGIE turns as his mother stalks over to him.

She holds out a large envelope and accuses,

MRS MCTEER

Your girlfriend served me papers.

It's obviously a conversation he's sick of having.

AUGIE

Cal wants what's hers.

He lowers his voice.

AUGIE

After everything, be happy she didn't take your house and car.

MRS MCTEER looks ready to object.

AUGIE

I don't want to hear how she ruined your life, mom. She didn't ask to be adopted. Your bullshit landed her in jail for ten years. And nearly got me killed.

INT. THE DEVIL'S TAIL BAR

DYLAN enters, looking around. Him and LAMAR exchange a look. Their conflict has faded.

JACKSON stands next to a nervous looking WOMAN at the bar. He has a beer in front of him.

CALLIOPE waves to DYLAN. He walks toward her as KYLIE walks past him toward the door.

CALLIOPE and DYLAN walk toward the office.

INT. THE DEVIL'S TAIL BAR

AUGIE watches his mother drive away. His temper is boiling.

KYLIE walks up to him. She reaches for his hand and squeezes it.

KYLIE

Come by in an hour. I have to write this up first. We can have dinner. Beer.

She smiles.

KYLIE

Complain about family.

AUGIE nods.

The door opens and OLIVER and LAURA step into the parking lot.

AUGIE looks at the couple. KYLIE turns to see who he's looking at.

INT. OFFICE

DYLAN follows CALLIOPE and closes the door behind them.

DYLAN

It is done?

CALLIOPE nods, moving away from him. In private, the uncertainty and emotions surface. She rubs her upper arms, hugging herself.

DYLAN follows her across the room.

CALLIOPE'S POV

CALLIOPE

Corey was the only person who believed me. He found proof Durborrow was dead before the fire.

INT. FLASHBACK MORGUE

Stock footage of **COREY WELCH** laying on the floor bleeding as he hands CALLIOPE the gun to defense herself against **LEANDRA**.

INT. OFFICE

CALLIOPE

He's dead because of me.

DYLAN runs a hand over her back. She turns to him and presses her face to her shoulder.

He tips her chin up with the side of his hand and meets her eyes.

DYLAN

Adrielle did this. You cannot change the past.

CALLIOPE

I'm becoming her.

DYLAN disagrees.

DYLAN

No.

He runs his thumb over her chin.

DYLAN

Every thing Adrielle did was for Adrielle. Control, greed, violence.

(A beat)

She did not care for anything beyond her own self interests.

He lightly kisses her.

INT. THE DEVIL'S TAIL BAR

JACKSON finishes his beer. He's far from drunk, but more belligerent.

JACKSON

Time to go.

WOMAN resists. She doesn't want to leave with him.

He grabs her arm. He isn't willing to take no for an answer.

LAMAR releases his glass and stands. He moves over with a calm expression and tense body language.

The bartender farther down the bar lifts the hinged section of bar.

People nearby are watching, but no one else moves closer.

JACKSON

Back off, old man.

JACKSON tries dragging WOMAN toward the door. She struggles.

LAMAR has dealt with a lot worse than a belligerent human. He reaches for the man's hand. (He needs skin contact for his ability.)

JACKSON reaches back and pulls his gun. Pointing it at LAMAR.

He holds his hands up. People standing around quietly move back. Conversations cease as people realize there's a threat.

JACKSON

Back the fuck off.

The office door opens and CALLIOPE exits the office. People move, giving her a clear view of the bar.

JACKSON, unafraid, points his gun at CALLIOPE.

She walks toward him, focused on his eyes, not the gun.

CALLIOPE

This is my town, Jackson.

Her Tidelander voice ability affects her tone.

CALLIOPE (CONT'D)

My people. You threaten them. You threaten me.

He's transfixed by her.

CALLIOPE (CONT'D)

Put the gun down.

AUGIE enters the bar as JACKSON lowers his gun.

She continues over to him and takes the gun. She pops the clip, opens the chamber, drops the bullet on the bar and sets the clip and gun next to it.

She says loudly, in her normal voice,

CALLIOPE

Dylan, call Kylie.

She keeps her eyes on JACKSON.

AUGIE walks over, his eyes on JACKSON. Anger radiates.

INT. KYLIE'S POLICE CAR

KYLIE

Three minutes.

She reaches for the lights and sirens button and switches them on. Than does a U-turn.

EXT. ROAD

KYLIE'S police car speeds back toward the bar.

EXT. THE DEVIL'S TAIL BAR

KYLIE walks toward her police car with JACKSON in handcuffs. AUGIE trails, his anger simmering and focused on JACKSON.

JACKSON

I will tell the cops everything.

AUGIE looks unfazed.

KYLIE leans over to open the back door of her car.

KYLIE

The cops already know everything. You idiot. Keep making threats and I won't be able to keep you alive.


	2. Chapter 2

ACT 2

EXT. LAURA MANEY'S HOUSE - NIGHT

It's the same house as season 1.

OLIVER parks in the driveway closest to the house.

A mobile phone rings faintly.

INT. OLIVER'S CAR

OLIVER holds his phone to his ear as he releases his seat belt.

He doesn't like what he's hearing.

OLIVER

Now?

He listens.

OLIVER

(puzzled)

Why?

He nods reluctantly.

OLIVER

I'll take care of it.

He nods again and the call ends.

LAURA

You told me you didn't take that job.

His expression says he doesn't want to have the conversation again.

LAURA

 **You know** what happens. Anyone challenging them dies.

He releases her seat-belt.

OLIVER

Laura...

She reaches for the door handle and climbs out of the car.

LAURA'S angry.

LAURA

No. I have lived in this town long enough to know what they're like. They will kill you for watching.

She shakes her head.

LAURA

I don't know want to know what they will do for stealing.

She slams the door.

INT. HIDING SPOT

A MAN wears black clothes and gloves stands out of view of the drive holding a gun.

LAURA'S footsteps and OLIVER'S car backing out of the drive are heard in the background.

EXT. LAURA'S HOUSE

OLIVER drives away from the house. LAURA screams in the background.

EXT. BACKYARD

With the gun at her back, MAN directs her across the backyard.

INT. POLICE STATION

KYLIE sits behind the desk closest the door. (COREY'S desk formally.) She uses the computer. AUGIE stands in front of the desk, looking out the window.

KYLIE

The woman's not going to press charges.

She looks up as he turns from the window to look at her.

KYLIE

I can get him for the weapon and miscellaneous.

AUGIE shakes his head.

AUGIE

A one-way trip out of town. I'll drive him.

KYLIE

What happened to your last crew isn't your fault. If they listened to you, they would still be alive.

EXT. THE DEVIL'S TAIL BAR

CALLIOPE gets on the back of DYLAN'S motorcycle and adjusts her helmet. Then leans forward and wraps her arms around his waist.

DYLAN drives out of the parking lot, opposite the direction KYLIE cam and went earlier.

The door opens.

GANNON steps out first and puts his back to the door, holding it for LAMAR.

LAMAR exits looking uncertain about something.

GANNON closes the door and locks it.

GANNON

Tonight?

When LAMAR doesn't respond, GANNON looks up from the door.

LAMAR watches a slow moving SUV driving past the bar. GANNON turns to see what LAMAR is looking at.

GANNON

An out-of-towner. With Flashy clothes and a massive ego. Showing off a bundle of cash.

He finds it ridiculous.

GANNON

He brought in a girl, eighteen, nineteen, last week. A bribe. The kid figured out why I wasn't interested.

(A beat)

He offered me another girl.

LAMAR turns to GANNON as the SUV disappears past the parking lot.

LAMAR

What does he want?

GANNON

Information. Access.

He doesn't know.

GANNON (CONT'D)

He recognized Mrs. McTeer. She didn't seem to know him.

LAMAR looks suspicious.

GANNON reaches for LAMAR'S hand, the backs of their hands touching.

GANNON

Tonight?

LAMAR hesitates.

GANNON nods and grasps LAMAR'S hand.

GANNON

Call me when you get home.

GANNON shifted, intending to move away. LAMAR, looking conflicted, grabs GANNON'S hand.

GANNON turns back, waiting a moment for confirmation, and leans in to kiss LAMAR.

EXT. DARK ROAD

DYLAN takes a quick left on an unlit road.

EXT. DARK ROAD 2

DYLAN pulls onto the side of the road. Him and CALLIOPE get off the bike and hurry into the trees with it.

The sound of the SUV seen at the bar increases as it approaches with it's lights off.

EXT. IN THE TREE

DYLAN and CALLIOPE watch the SUV drive passed slowly.

CALLIOPE finds her mobile in her pocket. And turns away from the road, careful to hide the light.

INT. POLICE STATION / CELLS

KYLIE stands in front of a cell. JACKSON sits on a cot, ignoring her.

KYLIE

It's a simple choice. I can charge you for an illegal firearm, threatening people. Add some petty shit.

(A beat)

You will go to jail. No bail.

(A beat)

If you try to provide information about Augie. The suppliers. Dealers. You can cause a lot of trouble. But you won't survive jail.

(A beat)

The dealers have connections.

Her mobile rings. She quickly finds her phone and looks at the screen. Puzzled, she presses connect.

KYLIE

Hey.

EXT. IN THE TREE

The SUV turns around and drives back toward them slowly.

CALLIOPE

(quietly)

Dylan and I were followed from the bar. A black SUV.

INT. POLICE STATION / CELLS

KYLIE eyes JACKSON.

KYLIE

Plate number?

EXT. DARK ROAD 2

The SUV parks.

EXT. IN THE TREE

CALLIOPE

(whispers)

No.

She disconnects the call.

INT. POLICE STATION / CELLS

KYLIE looks at her mobile after the call ends. She's worried.

KYLIE

Know any reason someone would follow Cal back to L'Attente?

JACKSON

What's it worth?

He looks up at her.

KYLIE

Being able to walk out of here.

(A beat)

Augie's overprotective. And asks questions with his fists...

She motions toward the door leading away from the cells.

KYLIE

If you don't tell me, I have to go out there and tell him someone's messing with his sister. And you're involved. Otherwise you'll tell me who.

EXT. IN THE TREE

CALLIOPE and DYLAN stand together, listening.

The SUV drives off.

CALLIOPE looks relived. She hugs DYLAN from behind, pressing her face to his shoulder.

DYLAN looks suspicious. He taps her hand and motions for her to back up.

Confused, she moves, watching him. He crouches down and checks his bike. Running his hands over the various surfaces.

Until he finds a tracking device. He removes it and holds it up.

CALLIOPE leans in and whispers in his ear.

CALLIOPE

We have to go.

He looks reluctant to leave his bike.

Then a crunch comes from the direction the SUV went.

They quietly walk away from the bike.

INT. POLICE STATION

AUGIE sits on the chairs across from the desk checking his mobile.

He looks up as KYLIE hurries back into the room.

KYLIE

(worried)

Raymond Arsenault is in town. A lackey for a former business rival of Grigori Stolin.

AUGIE stands, concerned.

AUGIE

That's who Oliver's working for?

She stops behind the desk as he walks over.

KYLIE

I doubt it. Arsenault can afford smarter thugs.

Her hands fly across her keyboard.

AUGIE leans on the desk and looks over it at her.

KYLIE

I saw a regional police report that Arsenault took over Stolin's business.

AUGIE

Why is he here? The only business he had was with Adrielle. He wanted artifacts. They're worthless to anyone outside L'Attente.

KYLIE

Why did Stolin want them?

AUGIE hesitates.

She looks up from the computer. And meets his eyes.

EXT. FLASHBACK BEACH/WATER - DAY

Stock footage of STOLIN standing in the water facing away from the beach, listening to the Sirens.

AUGIE V.O.

Stolin believed he could talk to the things in the water.

STOLIN is knocked down.

EXT. IN THE TREES

MAN2 wears black clothes and gloves and carries a gun.

CALLIOPE speaks, using the Tidelander voice ability.

CALLIOPE

Drop the gun.

Entranced, he looks down at his gun a moment before dropping it.

CALLIOPE

Who sent you?

The man looks at CALLIOPE as she steps into view in front of him. He resists her ability.

DYLAN quietly picks up the gun MAN2 dropped.

She eyes him, trying to figure out why he didn't obey.

DYLAN hits MAN2 over the head. DYLAN catches MAN2 and lowers him to the ground.

CALLIOPE moves over as DYLAN checks under MAN2's collar. DYLAN removes a thick chain necklace with a medallion.

INSERT: MEDALLION. It has symbols similar to the chards of pottery from season 1.

DYLAN removes it, careful not to touch the medallion.

She crouches near DYLAN, looking at the medallion.

CALLIOPE

Like the shards?

DYLAN

No. It allows a male to resist a Siren.

CALLIOPE

It doesn't work on Tidelanders?

DYLAN doesn't know.


	3. Chapter 3

ACT 3

EXT. ORPHELIN BAY CEMETERY - EARLY MORNING

LAMAR crouches in front of a tombstone that says, "PAUL MURDOCK." He sets a piece of coral on a pile against the stone.

Then touches the tombstones with his finger tips.

Before standing and walking toward his vehicle.

Passed another newer stone with a driftwood planter. It says, "COREY WELCH."

INT. MRS MCTEER'S HOUSE / BEDROOM

It's a practical bedroom with few personal items or luxuries.

A vehicle sounds outside the house.

MRS MCTEER wakes, looking around, unsure what woke her.

THUD. Something is dropped on her SUV.

She reaches for a gun on the bedside table.

EXT. IN FRONT OF MRS MCTEER'S HOUSE - HALF-AN-HOUR LATER

It's the same one as season 1.

KYLIE parks back from the house. And climbs out of her police car.

She looks around with her hand on her holster expecting a problem.

KYLIE approaches slowly as the front door opens.

OLIVER'S body is draped over MRS MCTEER'S SUV. Blood is streaked down his face. And stains his clothes.

CLOSE UP: OLIVER'S missing his eyes like a TIDELANDER kill. It's subtle, but they're more damage.

MRS MCTEER stands by the door with her arms crossed. She's pissed.

KYLIE finds her phone.

INT. MASTER BEDROOM

The colors and furnishings are left over from ADRIELLE. The bedding, pictures and housekeeping are all CALLIOPE.

CALLIOPE and DYLAN sleep under sheets on different sides of the bed. Her shoulders are bare suggesting she's nude. He isn't wearing a shirt.

CALLIOPE'S mobile rings. It's plugged in on the bedside table closest to her.

The sound wakes them both.

Sleepy, CALLIOPE reaches for her phone.

DYLAN eyes a clock on the wall.

INT. BOOK ROOM

It's the room with the adjacent storage room behind the bookcase. The table is out.

INT. STORAGE ROOM

The community has significant money again. Containers on the floor have odds and ins. One holds coins from a shipwreck.

LAMAR removes a box from a shelf, preparing to distribute funds.

Small footsteps sound in the adjacent room.

LAMAR walks toward the opening.

INT. BOOK ROOM

CALLIOPE stands on the other side of the table looking at the bookcase. She's tired and hastily dressed.

LAMAR steps out.

LAMAR

Problem, madam?

CALLIOPE

Oliver Brown. The fisherman. Was found dead at my mom's house. No eyes.

(A beat)

Any ideas?

LAMAR

Mr. Brown has more enemies than friends. And gambling debts.

(A beat)

Your mother is openly hostile to us. Taking his eyes redirects the investigation toward us.

CALLIOPE

Will you ask around? In case...

LAMAR

Yes, madam.

CALLIOPE

Thanks.

She turns and leaves.

He watches her go, still not used the change in leadership.

EXT. MORGUE

AUGIE parks his truck in the adjacent parking lot.

INT. MORGUE

AUGIE walks down a hallway. KYLIE steps through a door. It closes behind her. She looks vaguely nauseous.

AUGIE

I can't stay long. Gannon agreed to stay with mom.

He doesn't expect that to last long.

KYLIE

Oliver's eyes were removed with a spoon. After he was asphyxiated.

AUGIE hadn't expected that.

KYLIE

Jackson claims he doesn't know who did it.

INT. BOOK ROOM

LAMAR sits at the table with a queue forming.

First in line, ZAKIYA UWUSU, early twenties, African accent, wears colorful clothes.

ZAKIYA

How much today?

LAMAR answers without looking up.

LAMAR

One thousand.

VIOLCA, several months pregnant, enters quietly at the back while GILES and BIJOU move around her and the line toward LAMAR.

GILES wears a white medical eye patch after eye surgery (on the side he previously had an eye removed.)

BIJOU sets a childish drawing of MAN2's medallion on the table.

LAMAR looks startled.

LAMAR

Where?

He leans in to hear as GILES whispers.

GILES

Down the secret stairs.

LAMAR absently sets a hand on the key necklace he wears under his shirt.

INT. THE DEVIL'S TAIL BAR

AUGIE walks toward the bar.

GANNON'S sits at the bar with a gun in front of him.

MRS MCTEER sits at the bar, less than happy, with a bottle of orange juice and a take-out box of breakfast.

GANNON stands and heads toward the door, leaving the gun.

AUGIE

Thanks, man.

GANNON nods.

AUGIE sits on a stool next to his mom.

AUGIE

Oliver wasn't killed by a Tidelander.

(A beat)

Why would someone leave you his body?

She shakes her head, picking at her eggs with a fork.

AUGIE

The name Raymond Arsenault mean anything? He's in town.

She looks up as she realizes why he's asking.

MRS MCTEER

(indignantly)

He works for a human-trafficker.

AUGIE

Cal and Dylan were followed last night. Threatened. By someone working for Arsenault.

She looks back at her food while he talks.

MRS MCTEER

Nothing to do with me.

(A beat)

I was just trying to be a bar owner.

INT. BOOK ROOM

LAMAR looks at VIOLCA as she waddles up to the table.

He has a stack of money in his hand but doesn't hold it out.

LAMAR

Does the madam know you returned?

VIOLCA

(defiant)

No.

LAMAR

Tell her.

He holds out the money. She takes it.

EXT. POLICE STATION

DYLAN parks his motorcycle in front of the police station next to KYLIE'S car.

CALLIOPE removes her helmet, staring at the building.

INT. FLASHBACK COREY'S TRUCK

Stock footage from season 1, episode 1 of conversation that had "I thought whiny Welch would have been a poet or some shit."

EXT. POLICE STATION

DYLAN holds out his hand.

CALLIOPE takes a moment to force a neutral expression and walks toward the front door.

INT. POLICE STATION

The front room is empty.

KYLIE walks from her office, carrying a manila folder, and exits the doorway behind the front desk.

KYLIE

Sorry to ask you here. I know it's not a place you want to be.

(A beat)

I had to call the feds. The guy wouldn't give his name. Asked for a lawyer. With the out-standing warrants, and my limited resources, I was able to call someone to come get him first.

CALLIOPE

What do you need me to do?

KYLIE

Sign a statement.

She motions CALLIOPE to follow.

INT. MEETING ROOM

KYLIE leads into the room where COREY brought CALLIOPE to take a statement about the attempt to drown her.

CALLIOPE hesitates in the doorway.

Then crosses the room and sits in the same chair she did that day.

KYLIE sets the folder on the table and sits across from CALLIOPE.

KYLIE

I typed up a sanitized version of what you told me.

INT. FLASHBACK MEETING ROOM

Stock footage from season 1 where COREY is trying to take a statement after the drowning attempt and MURDOCK comes back.

INT. MEETING ROOM

KYLIE opens the folder and removes two sheets of paper and places them in front of CALLIOPE.

KYLIE

Read it. If you agree with the statement, sign each page.

CALLIOPE lifts the first page.

INT. POLICE STATION

DYLAN stands, leaning on the desk, reading a text message.

B.g. The vehicle that chased him and CALLIOPE the other night pulls into the parking lot and is visible through the windows.

DYLAN hurries toward the Meeting Room.

INT. MEETING ROOM

The door opens. CALLIOPE looks up. KYLIE turns and looks at DYLAN.

DYLAN

We have a problem.

INT. WEAPONS LOCKER

KYLIE quickly opens it. It has long guns.

KYLIE

Either of you know how to shoot?

CALLIOPE

Yeah. My dad taught me.

She reaches in and grabs a gun.

DYLAN stands back, reading a text.

DYLAN

Augie needs ten minutes.

KYLIE

We don't have it.

INT. POLICE STATION

MAN3, MAN4, WOMAN2 enter the front area where DYLAN was waiting. With guns drawn.

They're professionals and move with coordination and common sense.

MAN4 turns to check the open door to the bathroom. One of the thick chains like MAN2'S medallion is visible under his collar.

INT. BREAK ROOM

CALLIOPE walks toward the counter and sink to turn on the water.

CALLIOPE

Cover your ears.

DYLAN pats his pockets for ear plugs for his mobile. When he finds them, he quickly sets it up and turns on music. LOUD.

CALLIOPE turns on the water.

KYLIE moves chairs. DYLAN moves over not sure what she's doing. She motions flipping the table.

INT. POLICE STATION

MAN3, MAN4, WOMAN2 stop hearing the water faintly. MAN3 motions in that direction.

INT. BREAK ROOM

CALLIOPE runs her hand under the water and screams like she did when she accidentally entranced COLTON.

INT. HALLWAY OUTSIDE BREAK ROOM

The scream sounds through the door.

MAN4 stops moving.

MAN3 looks at MAN4 annoyed. Then makes eye contact with WOMAN2. She nods.

They move into position.

MAN3 reaches for the Break Room door. While WOMAN2 holds her gun up ready for the door to open.

INT. BREAK ROOM

The table is over turned as if they're hiding behind it.

REVERSE ANGLE

DYLAN and CALLIOPE crouch behind door as it opens. KYLIE is on the other side.

WOMAN2 enters. KYLIE reaches out and grabs her.

CALLIOPE slams the door shut.

KYLIE and WOMAN2 struggle. Awkward hand-to-hand combat trying to deal with hands and guns.

BOOM/CRUNCH. MAN3 fires through the door.

CALLIOPE quickly stands and fires through the hole before ducking. (Season 1 she hit a road sign from the center seat of a pick-up truck while it was moving.)

And turns quickly so she's behind WOMAN2.

MAN3 yells from pain and impact. Then fires at the door again.

WOMAN2'S struggles with KYLIE increase. WOMAN2 head-butts KYLIE.

CALLIOPE slams WOMAN2 in the kidney. WOMAN2 yells from the pain and leans sideways. CALLIOPE brings her foot down on WOMAN2'S knee. She yells from the pain. And drops right on her dislocated knee.

WOMAN2'S gun fires, striking KYLIE in the leg.

CALLIOPE hits WOMAN2 with the butt of the long gun. WOMAN2 drops. The gun hits the floor. THUNK.

KYLIE slides to the floor grimacing from the pain and bleeding.

CALLIOPE moves back toward the door. She slowly reaches for the knob with her left hand, holding the long gun with her right.

CLICK. She throws it open.

And quickly brings her hand back to steady the gun.

IMAGE moves forward.

INT. HALLWAY OUTSIDE BREAKROOM - CONTINUOUS

Through the open doorway, MAN3 sits slumped over. Pain evidence on his face. He has a serious chest wound.

He raises his gun, fires. The recoil forces him back into the wall. He passes out from the pain. The bullet hits the floor. CRACK.

IMAGE moves back.

INT. BREAK ROOM - CONTINUOUS

CALLIOPE crouches and peaks right and than left.

INT. HALLWAY OUTSIDE BREAK ROOM - CONTINUOUS

MAN4 looks incredibly confused. When CALLIOPE makes eye contact, he raises the gun.

CALLIOPE uses the Tidelander voice ability.

CALLIOPE

Drop it.

As MAN4 lowers his arm...

IMAGE moves back.

INT. BREAK ROOM - CONTINUOUS

CALLIOPE moves back until the gun hits the floor.

She looks at DYLAN and motions for his ears. He removes the removes the ear buds.

CALLIOPE

Heal her.

IMAGE moves forward.

INT. HALLWAY OUTSIDE BREAK ROOM - CONTINUOUS

CALLIOPE moves cautiously into the hallway toward the MAN4'S gun.

She grabs it.

CALLIOPE

Sit!

MAN4 sits unceremoniously on the floor.

INT. POLICE STATION

AUGIE hurries into the police station with three men. All armed. Followed by **BARDO WALKER** , early 30s, Aborigine, wearing a uniform. Looking very confused.

AUGIE motions with hang signals to check the doors.

INT. HALLWAY OUTSIDE BREAK ROOM

AUGIE slowly walks down the hallway. MAN4 sits on the floor still looking confused. MAN3 is dead.

CALLIOPE O.S.

You and your guys...

She speaks, stepping into the hallway.

AUGIE lowers his gun.

CALLIOPE (CONT'D)

Need to hide your guns. The paramedics and the morgue are coming.

AUGIE looks at the guy sitting on the floor. He doesn't want to know.


	4. Chapter 4

ACT 4

INT. POLICE STATION / CELLS - LATE AFTERNOON

KYLIE unlocks the door and opens it for JACKSON.

MAN2 lays on his back in a different cell with his hands folded and his closed. Pretending to sleep.

KYLIE eyes him a moment before motioning JACKSON out.

INT. HALLWAY OUTSIDE THE CELLS

KYLIE

I can't guarantee your safety. And the feds are coming for that guy. You can't be here.

JACKSON looks skeptical.

JACKSON

You're letting me go?

KYLIE finds her mobile. Then a picture.

She holds up an image for JACKSON of WOMAN2 unconscious on the Break Room floor.

Then she scrolls until she finds an image of MAN3 slumped dead on the Hallway floor. And showed it to him.

He's trying to maintain a macho image, but it's failing.

KYLIE

Do not mess with Cal again. Stay out of her bar. Stay away from the ex. She wants nothing to do with you.

(A beat)

I don't want to see you looking like that.

She motions at her phone.

KYLIE

Understood?

JACKSON nods slightly.

INT. POLICE STATION

BARDO sits behind his desk.

AUGIE stands opposite the windows. While his three men occupy chairs across from the desk.

KYLIE steps out of the hallway with JACKSON.

AUGIE makes eye contact with JACKSON immediately. It's tenses. JACKSON looks away first.

INT. QUEEN'S HOUSE

LAMAR waits on the porch for CALLIOPE as DYLAN parks the motorcycle.

She removes her helmet and steps off the bike. She's holding a paper bag (with MAN3 and MAN4'S medallion necklaces.)

CALLIOPE carries the helmet and bag toward LAMAR.

LAMAR

Madam.

He hesitates uncharacteristically.

LAMAR

Did you encounter a man wearing a medallion?

She nods. Not surprise he knew.

CALLIOPE

With symbols similar to the shards.

She held up the bag.

CALLIOPE

Two more attacked the police station.

LAMAR eyes the bag like it's a snake. And looks like he's not sure how to say something.

CALLIOPE

Say it.

LAMAR

According to stories, rumors. Men wearing those are part of a cult. Started in antiquity. The medallions grant them protection from a Siren's song. Allowing them to

(adds the last word quietly)

hunt.

She nods.

CALLIOPE

They're inconsistent.

LAMAR doesn't understand at first.

LAMAR

For you, madame?

She walks past him toward the door. He turns, looking uneasy, and follows.

INT. HALLWAY WITH FOUNTAIN LOCK

CALLIOPE holds up her hand to make the water stop. Then motions toward it.

LAMAR removes the necklace from under his shirt and opens the key case. Then removes the key.

He inserts the key into the fountain and turns it. The wall panel slides aside revealing the secret, winding stairs.

CALLIOPE enters the stairwell. LAMAR waits.

INT. DUNGEON

It's been remodeled. The cell is still there but it's empty. There are more storage drawers and containers.

The seer's pedestal (for vision) is dry.

CALLIOPE moves over to the table and lifts the lid off a stone box with engravings.

There's already a necklace in the box. She turns the paper bag upside down and dumps two more on top of it.

Then returns the lid and presses down to make sure it's secure.

INT. HALLWAY WITH FOUNTAIN LOCK

LAMAR looks increasingly uneasy.

DYLAN approaches.

LAMAR

The necklaces can not stay here. Adrielle's obsession with the shards, our mothers, power. Is not unique. There are others who would lose their way.

DYLAN

No one would challenge Calliope.

LAMAR

Violca is back.

DYLAN doesn't see that as a problem.

DYLAN

This is her home.

LAMAR

She is the reason Giles lost his eye. He feared for Bijou.

DYLAN closes his eyes.

INT. MASTER BEDROOM

CALLIOPE enters first. DYLAN closes the door behind them.

She starts undressing, heading for the bathroom.

INT. BATHROOM

It's made of sea green marble. A ridiculous luxury Adrielle would have approved of.

A large, round, in floor, tub with a fountain-like water spout for a shower.

CALLIOPE walks toward the tub.

DYLAN steps into the bathroom doorway as she turns on the water. He's overwhelmed from the day.

CALLIOPE

Waiting for an invite?

DYLAN pulls his shirt over his head.

INT. TUB

Bathtub sex scene.

EXT. POLICE DEPARTMENT

FEDERAL POLICE OFFICER BERTOLD WOYTAL, mid forties, escorts MAN2 from the police station. He's handcuffed with his hands in front of him.

They stop at the back door of an unmarked police car.

WOYTAL uses a key fob to unlock the car. Then opens the back door.

While helping MAN2 into the back seat, WOYTAL hands in a handcuff key.

INT. UNMARKED POLICE CAR

WOYTAL drives out of the parking lot. Then looks in the rear-view mirror.

MAN2 rubs his wrists absently. He already removed the cuffs.

WOYTAL

What went wrong?

INT. BACKSEAT

MAN2

Inaccurate information. The medallions don't work the way we thought they did. McTeer's unusual upbringing didn't limit her abilities.

WOYTAL

We need more information.

MAN2

Her butler has a boyfriend. The bartender at her bar. It might be why he's missing an eye.

(A beat)

The question is how to break the hold she has over him.

EXT. IN FRONT OF OLD HOUSE

WOYTAL parks near a seemingly vacant house. With an untended yard. Surrounded by trees.

MAN2 climbs out of the back of the car and moves to the front.

EXT. NEXT TO OLD HOUSE

JACKSON looks around the corner of the house from the far side concealed from the road.

EXT. IN FRONT OF OLD HOUSE

MAN2 opens the front passenger door and climbs in.

EXT. POLICE STATION

AUGIE sits behind the desk where BARDO was earlier, holding his cell phone. He eyes the windows warily.

And listens.

AUGIE

How much?

He nods.

AUGIE

I can do that.

KYLIE steps out of the open doorway behind the desk. She waits.

KYLIE

A friend on the Sydney police force sent a picture of Arsenault.

She hands him the print out.

KYLIE

He warned me that women disappear when Arsenault's in town. Usually young, exotic women.

AUGIE looks at his phone.

AUGIE

Laura isn't answering her phone.

He stands.

AUGIE (CONT'D)

I need to go over there. Her husband was murdered several months ago.

(A beat)

Oliver's death will hit her hard.

EXT. LAURA MANEY'S HOUSE

AUGIE parks in the driveway.

EXT. FRONT DOOR

AUGIE knocks and listens. Nothing.

INT/EXT. SIDE OF THE HOUSE

AUGIE looks around. He finds her keys on the ground slightly under something.

He finds his phone. And quickly finds KYLIE'S number.

KYLIE O.S.

Hey.

AUGIE

Laura's missing.


	5. Chapter 5

ACT 5

EXT. QUEEN'S HOUSE - NIGHT

CALLIOPE stands on the stage in front of the house. It looks a lot like the night of Adrielle's speech. Except CALLIOPE doesn't care much for public speaking.

The crowd stands around much the way they did. But they're worried.

Notably, familiar faces are among them. VIOLCA stands to one side as if the crowd is avoiding her. ZAKIYA stands near the front. JAZMINE PERRIN, early twenties, looks angry. CONSTANTINO MIRELES, early thirties, stands with arms crossed.

CALLIOPE

Criminals followed Stolin here. They know about us. And our abilities might not affect them.

Crowd expressions change to show shock.

CALLIOPE

Don't go anywhere alone. Keep your phones with you and charged. Don't assume you can talk your way out of a bad situation. If it looks wrong, get out of there.

JAZMINE steps forward, anger mingled with arrogance.

JAZMINE

How is this better?! No one challenged us before you were here.

CALLIOPE moves over to the edge of the stage and jumps down. Then walks over to JAZMINE.

They stare at each other.

CALLIOPE

Adrielle wanted power. She spent most of our communities' money on artifacts for herself.

JAZMINE

To show us our mothers.

VIOLCA waddles over.

They stare at each other.

VIOLCA

Adrielle soaked our beach in blood! She killed our people to keep her secrets. She stabbed Dylan and left him for dead.

(A beat)

Her legacy is lies!

She sets a hand on her pregnant stomach.

VIOLCA

An impostor queen serving her own interests.

(A beat)

I am proof she lied. We are not cursed. We can have children. She killed my male because I proved she lied.

JAZMINE, enraged, turns toward VIOLCA. CALLIOPE moves keeping herself between JAZMINE and VIOLCA.

EXT. LAURA MANEY'S HOUSE

AUGIE'S truck is no longer in the driveway when KYLIE arrives in her official vehicle. It's on the street. She parks where his truck was.

AUGIE stands by the house holding the keys.

KYLIE steps out of her car. AUGIE walks over.

KYLIE

To limit problems, you need to stay out here.

AUGIE hands over the keys.

KYLIE

I know you were having an affair when her husband died.

He looks surprised by that.

KYLIE

People whisper I shouldn't be dating a drug dealer. Apparently, I should be more like Paul Murdock.

(sarcasm)

He was a saint.

AUGIE

Idiots.

AUGIE'S mobile rings, distracting him. He finds his phone as KYLIE walks toward the house. Then checks the screen.

AUGIE

Hey.

CALLIOPE

I just got your message. What happened?

INT. QUEEN'S HOUSE

CALLIOPE steps into the kitchen. LAMAR is eating at the kitchen counter.

CALLIOPE

Did Dylan leave?

LAMAR

He went to check on Giles'. The boy's new eye bothers him.

CALLIOPE

I need a ride. Augie's ex-girlfriend is missing. Her current boyfriend was left on mom's car.

LAMAR looks at his remaining food.

CALLIOPE

We can eat at The Tail.

INT. WOODED AREA IN L'ATTENTE

DYLAN walks up to VIOLCA, slowing to match her pace.

DYLAN

Why did you come back?

VIOLCA gives him a look that says she doesn't answer to him.

JAZMINE steps out of the trees. Still angry.

VIOLCE and JAZMINE stare at each other.

DYLAN, forced to play peacemaker looks like he doesn't know how to handle the situation.

JAZMINE

Your take over attempt failed. You ran.

(A beat)

That thing you carry is an abomination. You and it should have died with the human that created it.

CONSTANTINO steps out of the woods and removes a medallion from under his shirt.

DYLAN looks over, eyes widening, as CONSTANTINO crosses his arms.

CONSTANTINO

You are not harming the baby.

JAZMINE'S anger flares. She doesn't like being challenged. She turns, ready to attack.

CONSTANTINO

Try to make my blood rise, Jazmine. It will not work.

JAZMINE steps forward. And tries the Tidelander voice power against him.

JAZMINE

Kneel!

CONSTANTINO, unaffected, continues watching her like she doesn't matter.

JAZMINE

Kneel!

When it doesn't work a second time, she backs up.

EXT. LAURA MANEY'S HOUSE

LAMAR parks behind AUGIE'S truck.

INT. LAMAR'S SUV

CALLIOPE sits in the passenger seat next to LAMAR.

CALLIOPE

Sorry to make you wait.

She releases her seat belt.

LAMAR

Not a problem, madam.

His mobile rings as she opens the door. He finds it and checks the screen as she climbs out.

LAMAR

What happened?

DYLAN O.S.

(worried)

Constantino used a necklace against Jazmine. In front of Violca. They know what it does.

LAMAR closes his eyes.

LAMAR

Find Giles and Bijou. Take them to the house.

He opens his eyes and releases his seat-belt.

EXT. LAURA MANEY'S HOUSE

Lights are switched on in the house.

CALLIOPE walks up the driveway. AUGIE waits for her.

CALLIOPE

Has Kylie found anything?

He shakes his head, looking worried.

CALLIOPE

Where did you find the keys?

INT/EXT. SIDE OF THE HOUSE

He turns and leads her along the side of the house and motions at the ground.

She crouches down and touches the ground like she did when ADRIELLE showed her how ADRIELLE survived a slaughter as a child.

INT/EXT. FLASHBACK SIDE OF THE HOUSE

CALLIOPE speaks during the flashback

MAN1 steps out of hiding and grabs LAURA. She struggles. Screams.

He presses a gun to her back. And motions toward the backyard.

INT/EXT. SIDE OF THE HOUSE

CALLIOPE stands.

CALLIOPE V.O.

Laura was taken at gun point.

She motions in the direction MAN1 and LAURA walked.

LAMAR'S footsteps sound as he approaches.

LAMAR

Madam, there is a problem at L'Attente.

(hesitates)

If I may...

CALLIOPE

Say it.

LAMAR

We need guns. Constantino has a necklace.

CALLIOPE

It works?

LAMAR nods.

KYLIE steps out the side door.

KYLIE

Augie, I found something.

AUGIE, CALLIOPE and LAMAR turn to look at KYLIE.

KYLIE wears crime scene gloves. She holds up a print out of a digital photograph of the submersible from the beginning of Act 1.

INSERT: The photograph.

INT. LAURA MANEY'S HOUSE / BEDROOM

It looks much the same as season 1.

KYLIE leads into the room and over to the bed. Two boxes short enough to fit under the bed, filled with folders, are sitting on the bed.

KYLIE

They were under the bed.

(A beat)

Oliver must have been spying on someone.

AUGIE

I thought he had Jackson smuggling.

EXT. BACK OF OLD HOUSE

A light is visible in basement windows.

INT. OLD HOUSE / BASEMENT

It's in remarkably good condition. Tables, boards and bookcases with binders fill the room.

Printed pictures, cut out newspaper articles and print outs indicated they are researching something.

JACKSON has two photograph albums open. One has a picture of WOYTAL. The other shows MAN2.

INSERT: One picture on a board shows with a small piece of paper with a red question mark paper clipped to the corner.


	6. Enemy Mine

ACT 1

FADE IN:

EXT. FLASHBACK WOODS BEHIND LAURA MANEY'S HOUSE - NIGHT

MAN1 holds a gun to LAURA MANEY'S back as they walk through the trees. She's terrified.

A van waits, barely visible.

CLICK. The sliding door unlocks as they approach.

MAN1

Open it.

LAURA'S hand shakes so badly when she reaches for the handle, she can't open it.

MAN1 reaches out and slides the door over. Inside, secured to a makeshift seat welded to the floor, is a rear-facing car-seat. With a newborn sleeping baby in it. Wearing shades of blues from head to toe. The baby blanket has sea shells.

MAN1

In.

She's so scared, she stumbles trying to climb into the van.

Annoyed, MAN1 picks her up and puts her in the back of the van next to the baby. Before closing the door.

CLICK. It locks.

INT. VAN

CONSTANTINO MIRELES sits in the driver's seat waiting for MAN1.

He climbs in the passenger side.

MAN1 turns, looking in the back at LAURA.

MAN1

That is Angel. You will care for her.

She shakes, looking at the baby.

LAURA

I... I don't know anything... about babies.

MAN1

Learn.

He turns to face the front of the van again.

CONSTANTINO

Be grateful you did not stay with Oliver tonight.

EXT. QUEEN'S HOUSE

LAMAR parks in front of the house.

AUGIE gets out first and looks around. Then motions for LAMAR and CALLIOPE to go to the house.

LAMAR tries to open the front door. It's locked. He has to find a key.

AUGIE stands with his back to LAMAR and CALLIOPE watching their surroundings.

LAMAR gets the door open. Him and CALLIOPE enter cautiously. AUGIE backs toward the house.

INT. OFFICE

DYLAN, BIJOU, GILES, SOMOCHE and ZAKIYA sit around the office. It's tense. (GILES patch is off; he has two eyes.)

INT. ENTRYWAY

LAMAR stands just outside the partially open sliding doors.

AUGIE walks over and hands LAMAR a gun. He looks at it like he's not sure what to do with it.

AUGIE looks at DYLAN.

AUGIE

Wait by the front door. Anyone looking for a place to hide needs it opened. And instructions.

DYLAN nods. He's not used to that type of duty.

AUGIE looks at LAMAR.

AUGIE

How do we find Constantino's place?

EXT. WOODED PART OF COMMUNITY 1

AUGIE leads. He and CALLIOPE have guns. They move like they've had practice.

EXT. WOODED PART OF COMMUNITY 2

AUGIE and CALLIOPE encounter two women walking, holding hands like they're out for an evening stroll.

The women eye AUGIE nervously.

CALLIOPE speaks quickly and firmly.

CALLIOPE

Hide.

The women hurry off.

EXT. OUTSIDE CONSTANTINO'S HOUSE

The small, nothing-to-write-home-about cabin, is in the background behind trees.

JAZMINE'S eyeless body is tied to a tree.

AUGIE and CALLIOPE look around. Tense.

INT. ENTRYWAY

LAMAR stands in front of the door with the gun in his hand pointed downward but tilted at an angle so he can look at it.

INT. FLASHBACK MORGUE HALLWAY - DAY

Stock footage of the last moments of PAUL MURDOCK'S life. Adrielle's torturing him.

PAUL'S last words echo down the hall.

PAUL

Go!

INT. ENTRYWAY

LAMAR'S face is full of pain.

The front door unlocks. And opens.

LAMAR looks up. Quickly getting a poker face in place.

CALLIOPE

Lamar.

She enters the house with her gun in hand, pointed at the floor.

LAMAR looks relieved.

CALLIOPE

Constantino isn't home. He left Jazmine as a message.

LAMAR closes his eyes.

CALLIOPE

Any idea where he would go?

LAMAR

No, madam. I wish I did.

CALLIOPE sets a hand on his shoulder as she moves for the door.

INT. OFFICE

BIJOU sits with a sketchbook next to the sliding door. She stands.

Then the doors slide open

GILES stands nearby with his head down. (The white eye patch is gone. He has two eyes.)

CALLIOPE moves over to BIJOU and looks at her sketchbook. It's a childish drawing of a boat shed. With a mini submarine.

 

CALLIOPE

Where's this?

BIJOU shakes her head.

BIJOU

(whispers)

It hunts our mothers.

CALLIOPE doesn't like the sound of that.

After a moment's pause, she turns, looks at the women. Same group.

CALLIOPE

Stay with Lamar and Dylan.

BIJOU grabs CALLIOPE'S hand.

BIJOU

He knows how to hurt you.

INT. ENTRY WAY

AUGIE stands near the sliding doors talking on the phone.

AUGIE

Constantino's not here.

EXT. LAURA MANEY'S HOUSE

KYLIE'S police car has turned around with the open truck facing the house.

She stands to one side talking on the phone while BARDO places the boxes from the bedroom in the trunk.

KYLIE

I will keep my eyes open. Is he a danger to anyone else?

INT. ENTRY WAY

AUGIE

(tired)

I don't know.

CALLIOPE walks into the room. DYLAN moves over to her.

He speaks quietly.

DYLAN

Rumors are circulating.

He holds up his phone.

DYLAN

Adrielle angered many people. Some know what happened with Stolin. There are concerns this is revenge.

She hadn't thought of that.

CALLIOPE

Anyone saying who?

He shook his head.

Approaching footsteps sound in the background.

CALLIOPE and DYLAN look at AUGIE as he approaches.

AUGIE

What did Constantino say to Jazmine?

INT. FLASHBACK WOODED AREA IN L'ATTENTE

DYLAN is trying to keep the peace between JAZMINE and a very pregnant VIOLCA.

CONSTANTINO steps out of the woods and removes a medallion from under his shirt.

DYLAN looks over, eyes widening, as CONSTANTINO crosses his arms.

CONSTANTINO

You are not harming the baby.

INT. ENTRY WAY

AUGIE, puzzled, looks at CALLIOPE.

AUGIE

Why would he care?

She doesn't know.

CALLIOPE

He knew Colton?

She finds it unlikely.

EXT. AERIAL SEASIDE HOUSE - HOURS LATER

The image moves from the beach inland. It's somewhat rocky. Woods separate the beach from the house. (It's position somewhat like the queen's house.)

It's an old, two store house.

EXT. BALCONY

MAN1 stands on a second floor balcony looking toward the water. As the sky lightens with dawn approaching.

A baby cries, the sound carries through the closed French doors.

INT. NURSERY

A large room focuses on baby furniture and accessories, plush toys and an ocean theme. There are two cribs.

One corner has a single mattress laying directly on the floor with basic bedding. It contrasts the carefully decorated nursery.

LAURA looks overwhelmed as she walks back and forth trying to calm the baby. She wears a simple over-sized t-shirt, jeans and no shoes.

The balcony doors open.

LAURA tries singing a lullaby, but she doesn't know all the words.

MAN1 steps in and starts singing. A folk song about walking along a river. It's haunting.

CLOSE UP: MAN1'S eyes are now reptilian.

And closes the doors behind himself.

The baby quiets.

When he stops singing, the baby is sleeping.

MAN1'S eyes return to normal when he stops singing.

He walks over to her as he speaks,

MAN1

Find a way to relax. Angel senses your stress.

He holds out his hands for the baby. She passes ANGEL to him. He obviously knows more about children than she does.

ANGEL sleeps soundly against him.


	7. Chapter 7

ACT 2

EXT. AERIAL VIEW OF THE BAY - EARLY MORNING

Dawn has a reddish hue.

A salvage ship lists as it sinks. There is no obvious activity on or around the ship.

EXT. WOODS BEHIND LAURA MANEY'S HOUSE

KYLIE crouches near a tire impression, taking photographs with two cameras: one digital and one with film.

BARDO walks over, careful of the evidence.

BARDO

This was well-planned. They knew the location. Entrance. Exit.

He motions at the treads.

BARDO (CONT'D)

Common tires. No garbage. No reasonable risk of being seen.

She stands.

KYLIE

They?

He nods.

BARDO

Brown and Maney could have been abducted in the parking lot. Driven off the road. Attacked in the driveway. With the right circumstances, one person could have done it.

(A beat)

This required a spotter at the bar. Or someone followed them after they left. Another person hid by the side door. Brown's phone record said he received a call. With a driver, that's at least four.

KYLIE nods.

KYLIE

They might not be connected. Killing Brown was arrogant and violent. With no attempt to hide evidence.

BARDO

The timing.

KYLIE

(cedes)

It has to be related.

INT. QUEEN'S HOUSE / DINING ROOM - HOURS LATER

Light spilling through the windows isn't red.

SOMOCHE sets silverware on the table with less formality than the season 1 episode where AUGIE was tied to a chair.

ZAKIYA walks over carrying generic plates. AUGIE makes her nervous.

He paces, listening on his mobile. His clothes are rumpled like he slept them. And not for long. He wears his gun openly.

INT. KITCHEN

DYLAN stands at the stove cooking. He looks stressed

CALLIOPE sits on the floor in the corner with BIJOU and GILES. The girl's drawing again.

EXT. FRONT OF QUEEN'S HOUSE

LAMAR stands, waiting as VIOLCA approaches slowly. The conflict is still there. He's suspicious. She's defiant.

VIOLCA

What?

LAMAR

Constantino. Why did he defend you?

She crosses her arms.

LAMAR

Jazmine is dead.

Her eyes widen before quickly replacing the neutral expression.

LAMAR

Finding him is life and death, Violca. Do I need to explain what would happen if any man could resist?

(A beat)

Who would defend you then?

INT. POLICE STATION / BREAK ROOM

KYLIE walks into the break room. The walls have been patched. The door was removed. Stains remain.

She hesitates just inside, looking at the place where she was shot.

INT. FLASHBACK BREAK ROOM

CALLIOPE

Heal her!

DYLAN moves over, crouches down and looks at the wound in her leg.

DYLAN

Stay still.

INT. BREAK ROOM

KYLIE'S mobile rings.

Uneasy, she fumbles her cell phone.

KYLIE

Thomerson.

She listens, not liking what she hears.

KYLIE

(emphasizes)

Woytal took custody.

She listens.

KYLIE

I have paperwork. Security footage.

EXT. SHORE NEAR QUEEN'S HOUSE

AUGIE skips a stone across the water.

CALLIOPE walks over, she doesn't know what to say. She sets a hand on the back of his shoulder.

AUGIE'S mobile rings. They both jump.

He finds his phone, checks the screen and presses connect.

AUGIE

Did you find Laura?

INT. POLICE STATION / KYLIE'S OFFICE

KYLIE sits behind her desk with a still photo of WOYTAL walking MAN2 out of the station handcuffed on her computer.

An open manila folder sits next to her. She looks and sounds resigned.

KYLIE

No.

(A beat)

The man who followed your sister from the bar. He's out.

EXT. SHORE NEAR QUEEN'S HOUSE

AUGIE anger flares.

AUGIE

How?

He looks at CALLIOPE.

INT. KYLIE'S OFFICE

KYLIE

Woytal's dirty. Some of Murdoch's cryptic notes are starting to make sense.

(A beat)

He didn't trust Woytal. I thought that meant the agent was legit. He's on someone else's payroll.

EXT. SHORE NEAR QUEEN'S HOUSE

The call ends and AUGIE stares at his phone a moment.

CALLIOPE

What?

AUGIE pauses, thinking.

AUGIE

Does Lamar talk about Murdoch?

CALLIOPE

Not to me. I hate him. He framed me for Durburrow.

AUGIE

Kylie needs information.

CALLIOPE

What about mom?

(increasingly angry)

She prompted me to set that fire, knowing Durburrow was already dead. Met with Stolin. Knows about Arsenault.

INT. OFFICE

LAMAR cleans like it's any other day.

AUGIE opens the sliding doors and steps in. He looks uncertain.

LAMAR keeps cleaning.

LAMAR

Problem?

AUGIE closed the doors behind him.

AUGIE

I don't know how to say this.

LAMAR turns to look at AUGIE.

AUGIE

Kylie trusted a fed. Because she doesn't understand Murdoch's notes.

LAMAR struggles to keep his composure at the mention of PAUL'S name.

Making it more awkward for AUGIE.

AUGIE

Did he talk about his contacts? Who he would call?

LAMAR

(A beat)

No.

AUGIE

Sorry.

He stepped back and bumped into the doors.

EXT. THE DEVIL'S TAIL BAR

GANNON steps out of his truck and looks around.

With keys in hand, he walks toward the door.

The black SUV that followed CALLIOPE and DYLAN pulls into the parking lot as GANNON opens the door.

He stops and looks as the passenger door opens and RAYMOND ARSENAULT, early forties, flashy dressed with sleazy charm.

GANNON

We're not open yet.

RAYMOND walks over with his hands held out. Somewhere between a televangelist and a used car salesman.

RAYMOND

Good. We should talk in private. I have an opportunity that will interest you.

He stops a few feet away.

GANNON

I'm running late. I need to get the bar ready to open.

RAYMOND isn't dissuaded.

RAYMOND

A few minutes of your time. It's worth it.

He smiles.

GANNON

Not interested.

He turns back toward the door.

RAYMOND switches from friendly to serious like flipping a switch.

RAYMOND

Your friend Lamar lives as a servant. A slave. It's possible to free him.

(a beat)

That culture can't understand or accept him.

GANNON

You have no idea what you're talking about.

He opens the door, enters and quickly closes the door behind him. CLICK.

INT. THE DEVIL'S TAIL BAR

GANNON moves away from the door quickly. Then finds his phone

EXT. BEACH NEAR SEASIDE HOUSE

MAN1 stands, looking out across the water.

His mobile rings and he's not happy with the distraction.

MAN1

(abruptly)

What?

GANNON O.S.

Arsenault was here. Offering to help me free Lamar from L'Attente.

Anger flashes across MAN1'S face.


	8. Chapter 8

ACT 3

EXT. SHORE NEAR QUEEN'S HOUSE

CALLIOPE crouches down and fills a clay pitcher with water.

She looks uncertain, touching the surface of the water with her finger tips.

INT. BASEMENT

Frustrated, CALLIOPE walks around the scrying pedestal. Holding the water in one hand and a pocket knife in the other.

She stops abruptly and pours water on it, spilling some on the floor.

She sets the pitcher down.

Then stands and looks at the knife before opening it.

She holds her hands above the water, hesitating.

Then cuts her finger tip enough to draw blood. The droplets hit the water and expand.

She touches her hand, with the cut finger, to the water.

Her eyes lose focuses. She staggers slightly, setting her other hand in the water to steady herself.

INT. FLASHBACK NURSERY

It's an indistinct image focusing on LAURA holding a baby while MAN1 sings in the background.

EXT. VISION AUGIE'S FISHING BOAT

It's a more distinct image of a bright sunny day.

Wearing a simple, one piece swimsuit, CALLIOPE drives off the side of the boat.

She moves enough to essentially stay in the same place while her ability to breath underwater kicks in.

Then swims toward a wreck.

MAN1'S singing returns, echoing around her.

A mythological snake appears and swims around her.

CALLIOPE'S Siren's song starts fainter and over powers the singing. The snake disappears.

A mirror falls through the water, stopping in front of her and showing her reflect.

It cracks...

INT. OFFICE

DYLAN stands by a small table. He's trying to find something in his pockets and removes his cell phone and ear bugs. The ear buds are tangled with his keys.

He's detangling them when CALLIOPE starts screaming.

After a moment's hesitation, he places the buds in his ears. The sound fades.

He plugs them into his cell phone and turns music on loud.

INT. BASEMENT

CALLIOPE stands, staring at the bubbling water wide eyed.

Footsteps sound, hurrying down the stairs.

DYLAN

(concerned)

Calliope!

DYLAN appears behind her. She doesn't seem to notice him.

He walks around her and waves a hand in front of her face. She doesn't react.

He wraps his arms around her and drags her away from the pedestal.

CALLIOPE blinks, confused. She looks at DYLAN.

DYLAN

You were screaming.

INT. STAIRS

DYLAN no longer has the ear plugs.

With an arm around CALLIOPE, he guides her upstairs.

EXT. AUGIE'S HOUSE

AUGIE parks his truck in front of his house. The same one from season 1.

He climbs out and looks around. Then walks across the yard.

INT. DINING ROOM

MRS MCTEER sits at the dining room table. Using a laptop. The windows are completely covered. She has a hand gun next to her.

She speaks without looking up.

MRS MCTEER

(sarcasm)

More good news?

AUGIE takes a moment to check his temper. The grabs a chair, turns it around and sits down, leaning on the back of it.

AUGIE

We have a problem.

MRS MCTEER

You do.

AUGIE sets his hand down on the table with a thump.

MRS MCTEER looks at him.

AUGIE

The Tidelanders have kept this town alive for two hundred years.

MRS MCTEER isn't impressed.

AUGIE

You brought Stolin here. Arsenault followed him here. I need to know what I'm dealing with.

MRS MCTEER shrugs.

MRS MCTEER

Adrielle Cuthbert didn't have these problems. Cal shouldn't have killed her.

He stands.

AUGIE

If we lose the Tidelanders, we lose our income. Our houses. Everything.

MRS MCTEER

And stop losing our men.

EXT. BEACH

GILES and BIJOU sit, watching the water, on land above the beach.

A shoe washes onto the beach.

INT. QUEEN'S HOUSE / DINING ROOM

CALLIOPE sits at the table with her head in her hands looking hung over.

SOMOCHE sets a glass of water next to CALLIOPE.

She reaches for it and the water bubbles. She groans, withdrawing her hand.

LAMAR walks up to the table.

LAMAR

Madam.

CALLIOPE lifts her head looking hung over.

CALLIOPE

(quiet)

Why would someone kidnap Laura to care for a baby?

Confused, LAMAR doesn't say anything.

CALLIOPE

I had a vision...

She puts head back down.

LAMAR

A vision caused this?

CALLIOPE

Yeah.

(A beat)

Dylan said I was screaming.

She reached her hand toward the glass again and it bubbled.

CALLIOPE

What's wrong with me?

LAMAR has no idea. He lifts a chair and pulls it back before sitting down.

LAMAR

What did you see?

INT. OLD HOUSE / BASEMENT

JACKSON sits at a table in a room filled with tables, boards and bookcases with binders fill the room.

Printed pictures, cut out newspaper articles and print outs indicated he's are researching something.

The laptop in front of him has a nautical GPS program. Next to it is a map of the bay.

A radio plays in the background.

RADIO

Floating debris suggests a ship sunk...

JACKSON reaches over and turns the volume up.

RADIO

...off the coast of Orphelin Bay this morning. The Coast Guard Association has contacted volunteers in the area. But no boats have been reported missing.

With a shaky hand, JACKSON reaches for his mobile. He finds a number in his contacts and calls. It rings four times and goes to voice mail.

JACKSON

(nervous)

Augie, there's something I need to tell you...

INT. DINING ROOM

AUGIE walks in the room holding his phone. He sees CALLIOPE and looks concerned.

LAMAR turns, looking at AUGIE.

LAMAR

Was there a recent shipwreck?

DYLAN steps out of the kitchen.

AUGIE

A salvage ship. I was asked to help search for it.

CALLIOPE stands, unsteady.

CALLIOPE

I will go with you.

AUGIE doesn't think that's a good idea.

CALLIOPE

Laura's disappearance is involved. I don't know how.

EXT. UNMAINTAINED ACCESS ROAD

Trees line either side of the crumbling pavement. It doesn't look used.

BARDO parks his police truck across the street from a windowless van. It's the same type as the one CONSTANTINO and MAN1 used to abduct LAURA but it's a different color.

He steps out of his truck and looks around.

With his hand on his gun, he crosses the road. In the middle, he crouches down and looks under the van. Nothing.

He stands and walks to the door. And looks through the window.

INT. FRONT OF VAN

It's cluttered. A receipt in a cup-holder between the seats looks like a drink was set on it.

EXT. UNMAINTAINED ACCESS ROAD

BARDO steps back and walks to the back of the van.

The plate's missing.

Brown smudges on the back of the door and the bumper look like blood.

After a moment's hesitation, he removes a crime scene glove from his pocket and reaches for the door handle.

CLICK.

Wary, he opens the door slowly. And wrinkles his nose at a smell.

INT. BACK OF VAN

Something was stripped off the sides in a hurry. What's left of netting (to keep things from moving in the van) remains on one side.

The floor has more brown smudges. (One area is from the movement of an unsecured, bloody corpse.)

EXT. UNMAINTAINED ACCESS ROAD

BARDO closes the door, tucks the glove in his pocket and finds his phone.

He quickly enters a number from member. It rings.

KYLIE O.S.

Thomerson.

BARDO

The abandoned van is a crime scene.


	9. Chapter 9

ACT 4

INT. THE DEVIL'S TAIL BAR - AFTERNOON

The lunch crowd isn't big. More people are eating than drinking alcohol. A few people play pool.

MAN1 enters and walks over to the bar, selecting a section with no one nearby.

GANNON walks over.

GANNON

(quietly)

The thugs in the back corner are Arsenault's men.

(A beat)

Mentioning Lamar was desperate.

MAN1 agrees.

MAN1

And shows his information is inaccurate.

GANNON

Or it's skewed. The missing eye is the least of Lamar's scars. Most are on the inside.

MAN1

(pause)

Does he know what you are?

GANNON shakes his head.

MAN1

He was with a human for years, Gannon. How are we worse?

GANNON

Paul wasn't a potential threat to the community. Lamar would tell the new queen. She's young and impulsive with an overprotective brother. They would come for us.

MAN1

If he can not accept you, the relationship has no chance.

EXT. QUEEN'S HOUSE

AUGIE stands on the porch checking his voice mail messages.

He looks reluctant to listen to one, but selects it anyway.

JACKSON O.S.

(nervous)

Augie, there's something I need to tell you.

(hesitates)

That job me and Oliver were working

(A beat)

It was supposed to be easy money. It was for awhile. But

(A beat)

The people aren't treasure hunters. They're hunting the things in the bay.

(A beat)

Someone. Not L'Attente. Is hunting them.

AUGIE checks his contacts. He selects JACKSON. It rings but goes directly to voice mail.

JACKSON O.S.

Leave a message...

AUGIE disconnects.

EXT. NEAR CONSTANTINO'S HOUSE

JAZMINE is no longer tied to a tree.

There are normal bird and animal sounds and a breeze in the trees overhead.

INT. CONSTANTINO'S HOUSE

VIOLCA searches the house. Going through drawers. Looking at papers.

She opens a drawer with clothes and paws through it. In the back, bottom corner with a box with a symbol similar to CONSTANTINO'S medallion.

She lifts it, sets it on the nearest flat surface and opens it.

A static-like buzzing sound starts faintly and increases.

She backs away from the box looking unsteady.

The room blurs as the sound increases.

She drops to her knees, looking disoriented.

INT. KITCHEN

DYLAN gets a text message.

INSERT: Mobile screen. Text message. Violca is at Constantino's.

EXT. NEAR CONSTANTINO'S HOUSE

DYLAN looks around, suddenly uneasy.

The area is abnormally silent. None of the nature sounds heard earlier.

INT. CONSTANTINO'S HOUSE

DYLAN steps inside and finds VIOLCA slumped on the floor.

He approaches slowly, looking around. And sees the open box.

He walks over and closes it with his mobile, avoiding touching it.

EXT. QUEEN'S HOUSE

AUGIE looks worried. He turns toward the door and his mobile rings. He checks the screen and answers it.

AUGIE

Hey.

DYLAN O.S.

(concerned)

I'm at Constantino's. Violca is unconscious. I need help carrying her.

(hesitates)

And bring a bag. She found something.

EXT. UNMAINTAINED ACCESS ROAD

KYLIE stands behind the van wearing crime scene gloves. Scraping blood from the bumper into a small vial. Than shakes it.

BARDO stands back with the rest of the blood typing kit.

She walks over to BARDO. He holds out a test card.

She picks up a dropper from the kit and fills it. Then drops liquid on each circle on the card.

And takes the card from him and blows on it.

BARDO

(confused)

Doesn't that contaminate it?

KYLIE

No.

(A beat)

The field kit identifies blood antigens. Even if I spit on it, it wouldn't matter.

(A beat)

And it's only for quick information. The lab will make a formal determination.

She eyes the card and checks the box for confirmation.

KYLIE

The same blood type as Oliver Brown. It can't be Laura Maney.

BARDO

That makes sense. Brown's murder was messy. The van was dumped with potential evidence in the front seat.

(A beat)

I called the gas station and asked for all security footage for an hour either side of a receipt.

KYLIE

If this is as dumb as it looks, the killer or killers made our lives earlier.

INT. QUEEN'S HOUSE / GUEST ROOM 1

It's decorated in the same opulent style as the master bedroom, but not as luxurious.

Half carrying a disoriented VIOLCA, AUGIE and DYLAN enter a guest room.

AUGIE wears a small, kid's backpack over one shoulder.

SOMOCHE watches, uncertain from the doorway. She steps back as AUGIE approaches, followed by DYLAN.

INT. HALLWAY OUTSIDE GUEST ROOM 1

AUGIE

Please keep an eye on her.

CALLIOPE waits in the ENTRYWAY.

AUGIE leads into the room. DYLAN follows.

CALLIOPE

What happened?

AUGIE removes the backpack and holds it up.

AUGIE

Constantino left a trap for whoever searched his house.

He lowered his voice, moving closer.

AUGIE

This has to go downstairs.

CALLIOPE pats her pockets and removes a key similar to the one Adrielle carried in the container on a necklace. She hands it to AUGIE.

He walks away.

DYLAN waits until AUGIE is out of sight.

DYLAN

(quietly)

The area felt charged. When the box closed, it changed back.

She hugs him.

He presses his face to her shoulder.

DYLAN

Why now? Adrielle's enemies have to know she is dead.

LAMAR stands in the background unseen. He looks like an idea came to mind.

INT. STORAGE ROOM

LAMAR enters the storage area and walks over to the floor to ceiling shelves.

He easily finds the secret latch. CLICK.

Like the Book Room, the shelves swing open revealing another secret room.

INT. SECRET LIBRARY

This one has old books. And map cases. With a small table with one chair in the middle.

He focuses on a group of books in Hindi. And selects one.

He carries it over to the table and sits down.

INT. OFFICE

CALLIOPE enters first.

AUGIE closes the door behind them.

AUGIE

Jackson left a message. About hunters. The medallion and box fit.

(A beat)

The shards can call Sirens. The symbols are similar to the medallions. That box knocked Violca unconscious and made Dylan uneasy. I felt nothing.

CALLIOPE

(frustrated)

It's Adrielle's shit.

(A beat)

Tidelanders are the chosen ones. Revere our mothers. Hate humans.

(A beat)

You know better than I do what Adrielle was like. The psycho bitch treated men like she owned them. And wanted everyone to worship her.

She shakes her head.

CALLIOPE

Constantino couldn't take it anymore. And accepted an opportunity to fight back.

She growls in frustration.

CALLIOPE

He's angry at a fucking ghost. With Adrielle and Leandra dead and a few others who left, the women here just want to enjoy themselves. Sex. Parties. None of Adrielle's power trip.

AUGIE

The shards only work for Tidelanders?

She nods.

AUGIE

Why would Tidelanders create weapons for humans to use?

She obviously hadn't thought of that.

CALLIOPE

They were created by Tidelander men for self-defense.


	10. Chapter 10

ACT 5

EXT. THE DEVIL'S TAIL BAR - EVENING

THUG1 and THUG2 exit and walk toward their car.

THUG1 talks on his mobile.

THUG1

The bartender and the bar are clean. No drugs. No whores. No watering drinks or obvious stealing.

INT. RAYMOND'S RENTAL HOUSE

It's a high end bed and breakfast in a small town. It's stylish, but it's not high end motel in a large city.

RAYMOND sits in an arm chair with a drink in one hand and strokes WOMAN3's head with the other. Like a pet. She kneels on the floor next to him in a thin robe with her cheek resting on his leg.

RAYMOND

(annoyed)

Find something.

EXT. THE DEVIL'S TAIL BAR

Something shadowy slithers under their car.

THUG2 unlocks the passenger side. He's not paying attention to the interior.

INT. CAR

Something shadowy slithers inside the car under the front seat.

EXT. THE DEVIL'S TAIL BAR

THUG2 climbs in first and reaches across the seat to unlock the driver side door.

THUG 1 opens it and climbs in.

INT. CAR

THUG1 drives.

B.g. Dark stretch of road.

They thugs are joint venting.

THUG1

How does he expect us to bribe or blackmail a man without vices?

THUG2 shrugs.

THUG2

Dropping him in a hole so the bar is forced to replace him would take less effort. Then Arsenault can plant someone.

THUG1

I suggested that. He wouldn't tell me why it was a bad idea.

INT. FLOOR IN FRONT OF DRIVER'S SEAT

A shadow slithers around THUG1'S feet.

Something flickers in the dark on the side of the road.

THUG1 eyes it briefly, than dismisses it.

It flickers again.

THUG1

What is that?

THUG2

What?

A series of flickers start from the left and move in front of the car.

When it solidifies, a gigantic snake head moves onto the hood of the car, opening it's mouth on the other side of the windshield from THUG1.

His eyes go wide.

EXT. DARK ROAD

There is only dark.

Screaming can be heard faintly from the car.

It swerves left onto a steep slope, the lights illuminating the long way down.

The sound of wheels rolling too fast over uneven ground and rocks sliding fill the night.

CRUNCH. The car hits a tree.

INT. QUEEN'S HOUSE / DINING ROOM

With everything happening, it's a tense, quiet night.

CALLIOPE and DYLAN walk toward the kitchen with their plates.

SOMOCHE walks over to AUGIE, their plates still on the table.

AUGIE looks at his mobile, and a picture of LAURA, with a worried expression.

SOMOCHE reaches out and brushes her finger tips over AUGIE'S hand. He turns and looks at it.

SOMOCHE

(softly)

Want company tonight?

INT. KITCHEN

CALLIOPE stands in front of the sink. Setting her plate and glass in it.

DYLAN wraps an arm around her while he slides the dishes with his free hand into the sink.

Then he shifts, sliding his hands over her stomach and lightly kissing the back of her neck.

INT. DINING ROOM

AUGIE stands and reaches for SOMOCHE, pulling her against him. They kiss.

INT. HALLWAY OUTSIDE MASTER BEDROOM

CALLIOPE leads DYLAN toward the door. The fingers are touching.

She opens the door.

INT. MASTER BEDROOM - CONTINUOUS

CALLIOPE and DYLAN walk past the bed to the bathroom.

INT. BATHROOM

CALLIOPE and DYLAN face each other. While the bathtub fills. Kissing. It's affectionate.

INT. GUEST ROOM 2

It's decorated in the same opulent style as the master bedroom, but not as luxurious. And somewhat different than GUEST ROOM 1.

AUGIE and SOMOCHE quickly remove their clothes.

They touch with a need to de-stress and forget for awhile.

INT. GUEST ROOM 1

VIOLCA sleeps.

The bed thumping the wall during enthusiastic sex next door wakes her.

Startled, she pushes herself up and looks around, unsure of how she got there.

Absently, she sets a hand against her pregnant belly.

INT. KYLIE'S HOUSE

KYLIE closes the door as her mobile rings. She answers it. And doesn't like what she hears.

EXT.DARK ROAD

KYLIE parks on the side of the room. And steps out, looking around.

She switches on a torch/flashlight and crosses the road.

The crashed car is only visible because of it's lights.

She sighs and removes her mobile.

INT. THE DEVIL'S TAIL BAR

GANNON stands just inside the bar typing a text message.

INT. SECRET LIBRARY

LAMAR sits at the table surrounded by books. Some in piles. Some open. He has a notebook and a pen.

His mobile chimes, indicating a text message. He doesn't recognize the sound immediately.

He finds his mobile and the text.

GANNON V.O.

Everything all right?

Rather than text, LAMAR calls back.

EXT. THE DEVIL'S TAIL BAR

GANNON locks the door as his mobile rings. He's holding it in his hand.

He turns toward his car and sees ARSENAULT'S black SUV drive by.

He presses connect, walking toward his truck.

GANNON

I didn't mean to wake you.

INT. SECRET LIBRARY

LAMAR looks tired and uncertain.

LAMAR

I was reading.

EXT. THE DEVIL'S TAIL BAR

GANNON unlocks his car.

GANNON

A good story?

INT. SECRET LIBRARY

LAMAR

Informative.

(A beat)

I knew someone long ago. A seer. Many believed she could predict the future.

(A beat)

She told me one day I would have to chose between the world I understood and the world I could not.

INT. GANNON'S TRUCK

GANNON sits in the driver's seat. He doesn't like the sound of that.

GANNON

Do you believe her?

INT. SECRET LIBRARY

LAMAR closed his eyes.

LAMAR

Unfortunately.

INT. MASTER BEDROOM

CALLIOPE and DYLAN sleep curled together.

EXT. DREAM SEQUENCE AUGIE'S FISHING BOAT

It's a more distinct image of a bright sunny day.

Wearing a simple, one piece swimsuit, CALLIOPE drives off the side of the boat.

She moves enough to essentially stay in the same place while her ability to breath underwater kicks in.

Then swims toward the wreck. A slithering shadow takes the form of the medallion symbol on the side.

MAN1 V.O.

The enemy of my enemy is my friend.

INT. MASTER BEDROOM - MORNING

CALLIOPE wakes suddenly with a jolt. Waking Dylan. He looks at her sleepy.

CALLIOPE

(increasingly euphoric)

I know what's happening.

He looks confused, still waking up.

DYLAN

What?

CALLIOPE

We raided that shipwreck to replace the money Adrielle spent. And found artifacts. Some looked like the shards or the medallions.

He pushes himself up as she climbs out of bed.

She opens a dresser.

CALLIOPE

Where would Tidelanders hide their secrets?

(A beat)

Underwater. Our mothers would protect anything out there. Before scuba equipment, outsiders couldn't reach it anyway.

DYLAN

(increasingly concerned)

What's hidden?

CALLIOPE

Dangerous artifacts Tidelanders accumulated and hid.

(A beat)

Hunters wants them to use against us.

He sits up.

DYLAN

How do you know this?

CALLIOPE

There are two groups here. The hunters. And another group with abilities different than ours.

DYLAN

Slow down. Explain how you know.

He climbs out on her side of the bed, looking worried.

CALLIOPE

The vision, dream. They're trying to communicate.

She spins around to say something and passes out. He catches her and lowers her to the floor.


	11. Secrets

ACT 1

FADE IN:EXT. SEASIDE HOUSE / BACKYARD - EARLY MORNING

CONSTANTINO stood away from the house, glancing at the balcony to make sure it's empty.

His mobile vibrates with the ringer off. He answers.

CONSTANTINO

Hello.

RAYMOND O.S.

Good morning, Mr. Mireles.

(A beat)

Did you find it?

CONSTANTINO

Of course.

(A beat)

Oliver rented a storage shed. And filled it with surveillance equipment, photographs and research.

RAYMOND O.S.

Is it secure?

INT. QUEEN'S HOUSE / MASTER BEDROOM / BATHROOM - MORNING

DYLAN carries CALLIOPE over to the tub and sets her in it carefully. He wears pants but no shirt or footwear.

He crouches down and switches on the water.

KNOCK. On the bedroom door. It opens a moment later.

Footsteps sound in the bedroom. LAMAR steps into the open doorway.

CALLIOPE groans softly.

LAMAR

What happened?

DYLAN shakes head.

DYLAN

Calliope woke animated. Talking about visions, hidden treasure and enemies communicating.

LAMAR doesn't look surprised.

LAMAR

Did she mention snakes?

Confused, DYLAN turns and looks at LAMAR.

DISSOLVE TO:

INT. MASTER BEDROOM

CALLIOPE gets dressed. Standing in almost the same location as where she passed out.

She looks uneasy.

DYLAN returns to the bedroom. She looks at him. He closes the door behind himself.

He walks over to her as he speaks,

DYLAN

Lamar found old books. And possible explanations.

(hesitates)

Someone might be communicating.

She nods.

CALLIOPE

We need to reply.

He doesn't like that idea.

INT. SECRET LIBRARY

This one has old books. And map cases. With a small table with one chair in the middle.

LAMAR sits at the table surrounded by books. Some in piles. Some open. He has a notebook and a pen.

AUGIE stands in the bookcase opening.

AUGIE

How do we deal with it?

LAMAR stops turning a page.

LAMAR

By figuring out the motivation. With Adrielle's activities, L'Attente would have been found by now. If enemies were looking.

AUGIE

What does Arsenault get coming after the community? The medallions failed. He knows what you can do. But doesn't leave.

LAMAR looks up as AUGIE talks.

LAMAR

The madam thinks he is searching for artifacts Tidelanders hid in the bay.

It takes AUGIE a moment to realize he means CALLIOPE.

AUGIE

That salvage ship that sunk.

He removes his cell mobile.

LAMAR looks back at the book.

EXT. ACCIDENT SCENE

KYLIE stands, watching.

A firefighter in a safety harness returns up the hill.

A tow truck cable is attached to the rear bumper of THUG1 and THUG2'S car.

INT. MASTER BEDROOM

CALLIOPE'S mobile rings. She checks the screen and answers it.

CALLIOPE

Hello?

KYLIE O.S.

Good morning.

(A beat)

Sorry to bother you. I need security footage from The Tail.

(A beat)

I have two dead in a one-car accident. Witnesses say they were coming from the bar. Hopefully they were drunk.

(A beat)

With everything...

EXT. THE DEVIL'S TAIL BAR

KYLIE'S police car is parked next to GANNON'S truck.

DYLAN and CALLIOPE drive up on his motorcycle.

INT. THE DEVIL'S TAIL BAR / OFFICE

CALLIOPE enters while GANNON is showing KYLIE CCTV footage of THUG1 and THUG2 leaving the bar.

KYLIE looks back at CALLIOPE briefly.

KYLIE

Did anyone talk to them?

GANNON

Not that I remember. They shared a table in the back.

CALLIOPE

Local?

GANNON turns and looks at CALLIOPE.

KYLIE turns.

GANNON shrugs.

CALLIOPE

Arsenault's guys?

KYLIE

Maybe. I will run their prints. And check the files if they exist.

(A beat)

They're not tourists.

INT. THE DEVIL'S TAIL BAR

CALLIOPE stands at the end of the bar watching KYLIE leave.

As the door closes, she turns to look at GANNON behind the bar.

CALLIOPE

You know something.

GANNON

They're Arsenault's guys. Looking for a weakness to exploit.

(A beat)

I refused another bribe.

CALLIOPE

What did he offer? That you couldn't tell Kylie.

He hesitates.

GANNON

Lamar's freedom from you.

CALLIOPE looks confused.

DYLAN walks over.

DYLAN

Freedom?

GANNON

From servitude.

He shrugs.

GANNON

Arsenault's all arrogance and ego. Making assumptions. Without considering the possibility he's wrong.

DYLAN looks and sounds suspicious.

DYLAN

How did he know about the relationship?

GANNON

We're discreet. Not secretive.

CALLIOPE

Dylan.

He turns and looks at her.

CALLIOPE

Arsenault has old information.

He walks over to her, still not happy about the freedom comments.

She lowers her voice.

CALLIOPE

If Adrielle caught Lamar after killing Murdoch...

(A beat)

She would have killed him like Bill.

DYLAN

Why would Arsenault offer Gannon Lamar's freedom? Unless Gannon knows about us. How?

His mobile rings. He finds it, checks the screen and looks at CALLIOPE. She needs.

He walks toward the door.

CALLIOPE leans on the counter, looking at GANNON.

She uses her Tidelander voice ability on him.

CALLIOPE

What aren't you telling me?

GANNON smiles. Completely unaffected. Then walks away.

EXT. RURAL ROAD

AUGIE'S truck is parked on the side of the road.

JACKSON parks his truck behind AUGIE.

EXT. RURAL ROAD / JACKSON'S TRUCK

JACKSON rolls down the window as AUGIE walks over.

AUGIE

I need to know about the hunters.

JACKSON looks scared.

JACKSON

They killed Oliver. I don't know why.

He shakes his head.

JACKSON

If they took Laura, she's been sold.

He's sickened by that idea.

AUGIE has to make an effort to keep his temper in check.

AUGIE

How do I find them?

JACKSON reaches for the steering wheel. His hands shake.

JACKSON

I need to show you...

EXT. BACK OF OLD HOUSE

JACKSON drives up to the back of the house. And parks without being seen from the front. AUGIE parks behind JACKSON.

EXT. BACK DOOR

JACKSON'S hands shake as he unlocks the door.

INT. BASEMENT

It's in remarkably good condition. Tables, boards and bookcases with binders fill the room.

Printed pictures, cut out newspaper articles and print outs indicated they are researching something.

AUGIE walks into the basement and looks around.

JACKSON

Oliver and I were paid to track them. I didn't think it was possible they could hunt the things in the bay. Any shipwreck would be impossible to find. Or it would have been found.

AUGIE walks over to the board with the picture of MAN2. It has a small white piece of paper clipped to one corner with a paper clip on it.

AUGIE

He's dead.

JACKSON

How?

AUGIE

He attacked the police station. To free a man who attacked Cal.

He looks at JACKSON.

AUGIE

What's your interest?

JACKSON

He could free dive for twenty minutes. And bring items up from the bottom of the bay.

(A beat)

I thought he was a Tidelander. I hear stories.

He crosses his arms, basically hugging himself.

JACKSON

Oliver tried to play both sides. With his eyes removed, I thought...

AUGIE

With a spoon.

JACKSON looks nauseated.

AUGIE

Who's paying you?

JACKSON shakes his head.

JACKSON

I don't know. Oliver made the arrangement. After he was killed, I get demands. On the net. Not money.

AUGIE

How's my mother involved?

JACKSON holds up his hands. He has no idea.


	12. Chapter 12

ACT 2

EXT. THE DEVIL'S TAIL BAR - MORNING

DYLAN and CALLIOPE exit.

He waits until the door closes behind them.

DYLAN

Violca needs a doctor.

She looks confused.

DYLAN

The baby is a first for our community. No one understands pregnancy.

She has no idea. She finds her mobile and looks at it for a moment.

CALLIOPE

Kylie? Maybe she knows who to call.

EXT. SEASIDE HOUSE

It's an old, two store house. With woods separating it from a beach. Water can be heard, and seabirds, even if they're not seen.

MAN1 climbs out of a truck. He's pissed. And stalks toward the house.

INT. KITCHEN

LAURA has ANGEL in a child carrier/car seat on the counter. Away from the stove.

A party full pan of food sits on the stove.

LAURA bends over checking the oven.

CONSTANTINO sits at a butcher block table eating a portion of food from the pan.

MAN1 storms into the kitchen and toward CONSTANTINO.

MAN1

What the hell were you thinking?!

LAURA jumps not immediately realizing he's not mad at her.

CONSTANTINO looks at MAN1. Unaffected. CONSTANTINO'S used to being yelled at.

MAN1

Violca got hit by the trap you left. Thomerson drove a doctor out to L'Attente.

CONSTANTINO shrugs.

CONSTANTINO

Tidelanders heal.

MAN1 grabs CONSTANTINO by the neck and drags him to his feet.

MAN1

Something might be wrong with the baby.

And toward the inner door.

INT. DINING ROOM

MAN1 throws CONSTANTINO across the room. CRUNCH. He hits the wall.

MAN1

That child is the only chance we have. To unite out peoples.

He strides over to CONSTANTINO.

CONSTANTINO struggles to push himself up.

MAN1

I gave you the ability to protect yourself. Not destroy everything. On a power trip.

INT. KITCHEN

LAURA grabs the carrier off the counter, careful not to make a sound.

And heads for the back door.

She sees CONSTANTINO'S mobile on the table and grabs it.

When the screaming starts, she turns the knob.

EXT. SEASIDE HOUSE

LAURA struggles to run away from the house carrying the baby carrier.

INT. KITCHEN

MAN1 enters the kitchen and stares at the open door leading outside. And groans.

He carries the medallion CONSTANTINO was carrying; it's bloody.

MAN1

(exasperated)

At least you care.

He sets the necklace on the table.

MAN1

You would have gotten farther without Angel.

He walks toward the door.

EXT. WOODED AREA

LAURA stops, winded, and sets the carrier down.

She enters a number from memory. It rings.

AUGIE O.S.

Hello?

LAURA

I escaped.

She sobs.

LAURA

I don't know where I am.

AUGIE O.S.

I need a landmark.

LAURA

I don't know. I was kept in a large house. Surrounded by trees. I can hear waves and birds.

MAN1'S singing is faint but audible in the distance. A different tune from the earlier lullaby.

The baby wakes and coos.

LAURA looks at the baby, scared ANGEL will give them away.

AUGIE O.S.

Does the phone have a GPS app?

ANGEL starts making a different sound, responding to MAN1'S singing.

LAURA looks down at the baby. Her eyes are open. Like MAN1, she has reptilian eyes while singing.

LAURA

Oh my God.

INT. QUEEN'S HOUSE / HALLWAY OUTSIDE GUEST ROOM 1

CALLIOPE and DYLAN wait.

The door opens and DOCTOR SIMONA BAUMGART, early 50s, steps out carrying a medical bag.

SIMONA closes the door quietly.

SIMONA

The baby sounds fine. Violca needs rest. And to come by the office tomorrow or the next day for an ultrasound. As a precaution. And to start prenatal care.

DYLAN

Thank you, doctor.

She takes a moment.

SIMONA

An injured pregnant woman is urgent. I came without discussing payment. With private medical care, it's not covered by the government.

CALLIOPE

We will pay you.

She looks at DYLAN.

DYLAN nods. Then motions to the doctor and starts walking.

CALLIOPE'S mobile rings as they walk away.

EXT. WOODED AREA

MAN1'S singing is still audible in the background.

LAURA stands by a tree. Without the baby. She's switching on a GPS function.

INSERT: Show the app allowing people to know how far she is from them.

She checks to make sure the mobile ringer is off and sets it in a tree just enough to hide it.

Then moves away from the hidden mobile.

INT. HALLWAY OUTSIDE GUEST ROOM 1

CALLIOPE'S mobile rings. She finds it, checks the screen and answers it.

CALLIOPE

Hey.

AUGIE O.S.

I have a lead on Laura. I doubt it's Arsenault. Ask Lamar if he has any idea how to counter the effects of the other group.

CALLIOPE

The snakes? Why would they take her?

EXT. WOODED AREA

MAN1 picks up ANGEL'S carrier.

She fusses.

MAN1

(soothing)

We will go home, sweetheart, after we find the silly human.

INT. THE DEVIL'S TAIL BAR

The bar isn't crowded yet, but there are people moving around. The biggest group is by the pool table.

CALLIOPE enters and walks up to the end of the bar. And slides onto a stool. Away from the customers. She wears a thigh holster purse.

GANNON walks over.

GANNON

Problem?

CALLIOPE

(quietly)

Why are you here? Orphelin Bay. Not the bar.

GANNON

I have family in the area.

CALLIOPE

With a thing for snakes?

(a beat)

If your family has Laura, he needs to give her back. We know where he is. And it's a matter of time until we figure out how to deal with the earwig shit.

INT. SEASIDE HOUSE / KITCHEN - EVENING

MAN1 pushes the door open. He had LAURA over his shoulder unconscious. And carries ANGEL'S carrier.

His mobile rings.

Annoyed, he sets LAURA on the table. Then the carrier.

He finds his mobile and checks the screen. What he sees concerns him.

MAN1

What's wrong?

GANNON O.S.

Calliope says you have a friend of her brother's. And he knows where you are.

MAN1 looks at the woman on the table.

MAN1

Her brother's dating the police woman.

INT. THE DEVIL'S TAIL BAR / OFFICE

GANNON

You need to give her back.

MAN1 O.S.

(annoyed)

Tell him to find another woman. I need this one.

GANNON puts a hand over his face.

GANNON

You could fight your way out of a room full of Tidelanders. I can't.

The door opens and MAN1 speaks,

MAN1 O.S.

This is ridiculous. She's safer here.

(A beat)

Arsenault wants her dead. Over something her boyfriend did.

GANNON turns toward the door as MAN1 speaks.

LAMAR steps in and closes the door behind himself.

GANNON

Do you want a war over a woman?

MAN1 O.S.

No.

MAN1 swears.

MAN1 O.S.

I will text you the location.

The call ends.

INT. THE DEVIL'S TAIL BAR

CALLIOPE still sits at the bar. She's drinking a glass of water.

DYLAN stands next to her.

They speak quietly.

DYLAN

Why are we waiting? You could force the information out of him.

CALLIOPE reaches for DYLAN'S hand.

CALLIOPE

It won't work.

He looks at her.

DYLAN

You know this?

CALLIOPE

Yeah.

She squeezes his hand.

DYLAN

Why did you not say something?

CALLIOPE

A new approach.

DYLAN

Meaning?

CALLIOPE

It's the opposite of what Adrielle would have done.


	13. Chapter 13

ACT 3

INT. RAYMOND'S RENTAL HOUSE - EVENING

RAYMOND stands by a small table in the living room with bottles of liquor. He pours himself a glass.

He wears a mobile ear piece. It rings. He answers it.

RAYMOND

Did you find him?

WOYTAL O.S.

I located his mobile. It hasn't moved in hours. The last person called was Augie McTeer.

RAYMOND

Someone stole it.

(A beat)

Even if he thought L'Attente would pay for the information. Augie offered money for information on Constantino's whereabouts.

WOYTAL O.S.

The missing woman had information on Brown's activities. She could have led him to shed.

RAYMOND groans.

RAYMOND

Send me the details. If she gutted him, it will save me the effort.

EXT. AERIAL SEASIDE HOUSE

The image moves from the beach inland. It's somewhat rocky. Woods separate the beach from the house. (It's position somewhat like the queen's house.)

It's an old, two-story house.

Two groups are approaching the location of CONSTANTINO'S hidden mobile.

AUGIE parks his truck on an access road near a beach.

Two pick-ups with four people approach on another road.

EXT. BALCONY

MAN1 stands in the open doorway holding ANGEL.

The sounds of trucks can be heard faintly in the distance.

MAN1 steps back and closes the doors.

INT. NURSERY

MAN1

We have company.

LAURA sits on a single mattress on the floor against the far wall. She doesn't move.

He looks at her, emphasizing,

MAN1

It's not safe here.

She stands and walks in front of him across the room.

MAN1 grabs ANGEL'S car-seat on the way out.

EXT. ACCESS ROAD

AUGIE climbs out of his truck wearing dark clothes and boots. He carries a gun and his mobile.

EXT. OTHER ROAD

GUNMAN1, GUNMAN2, GUNMAN3 and GUNMAN4 climb out of the pick up trucks. Heavily armed.

INT. THE DEVIL'S TAIL BAR / OFFICE

GANNON'S mobile chimes with a message. He reads it than holds it out for LAMAR.

He reaches for the mobile and their fingers touch. And linger.

GANNON

I didn't know how to tell you.

LAMAR

(quietly)

Another time.

He turns toward the office door and leaves.

INT. THE DEVIL'S TAIL BAR

CALLIOPE sits in the same location. DYLAN rubs her shoulders.

The office door opens.

LAMAR'S footsteps sound as he walks across the bar.

The mobile rings and he stops.

GANNON steps out of the office.

LAMAR walks back.

LAMAR

Speaker.

GANNON answers the phone.

GANNON

You're on speaker.

(A beat)

What happened?

CALLIOPE strides across the room.

INT. SEASIDE HOUSE / SECURITY ROOM

MAN1 stands in front of security screens. With semi-decent pictures. While holding his mobile.

The trucks with GUNMAN1, GUNMAN2, GUNMAN3 and GUNMAN4 are on one screen.

Two images side-by-side show GUNMAN1 and GUNMAN3, the drivers.

MAN1 O.S.

Calliope sent men?

INT. THE DEVIL'S TAIL BAR

GANNON

No. Augie might have found you.

INT. SECURITY ROOM

MAN1 uses the keyboard to increase the picture size of the two drivers.

MAN1

They're Arsenault's men.

MAN1 turns and looks at LAURA.

MAN1

What did you do?

He motions at the screen.

MAN1

They are looking in the woods where I found you.

LAURA glares at him.

He looks like he realizes something.

MAN1

You took Constantino's mobile and called McTeer.

He takes a moment to compose himself.

EXT. WOODED AREA

GUNMAN1, GUNMAN2, GUNMAN3 and GUNMAN4 approach the area.

GUNMAN1 has his mobile out and approaches the tree. Annoyed, he reaches up and removes the mobile.

EXT. NEAR WOODED AREA

AUGIE stands hidden in the trees, watching from several feet away.

INT. THE DEVIL'S TAIL BAR

GANNON stares at his mobile as the call disconnects.

CALLIOPE runs for the door as GANNON speaks.

GANNON

Nate is keeping something from me. I don't know why he took the woman. When she betrayed him, he should have killed her.

EXT. THE DEVIL'S TAIL BAR

CALLIOPE looks at DYLAN and holds out her hand.

CALLIOPE

Give me the keys.

DYLAN looks at her.

CALLIOPE

You're not a fighter.

DYLAN reluctantly gives her the keys.

EXT. WOODED AREA

GUNMAN1 still looking at his mobile motions in the direction of the seaside house.

GUNMAN1

Only one building in the area.

The four gunmen walk.

EXT. NEAR WOODED AREA

Footsteps move away in the woods.

AUGIE sends a text message.

EXT. ROAD

CALLIOPE drives DYLAN'S motorcycle.

INT. SEASIDE HOUSE / BASEMENT ROOM

NATE (MAN1) sets ANGEL'S car seat on the floor.

NATE

Stay here. Those men want you dead. Not me.

EXT. SIDE OF SEASIDE HOUSE

The gunmen approach the house.

The balcony door opens.

They stop moving.

EXT. NEAR SEASIDE HOUSE

AUGIE approaches slowly.

NATE (MAN1) starts singing.

AUGIE stops and starts patting his pockets. He removes a pair of ear plugs and presses them into his ears.

EXT. SIDE OF SEASIDE HOUSE

NATE'S (MAN1) singing increases volume. It's a song about crossing the river.

GUNMAN1, GUNMAN2 and GUNMAN4 back up, increasingly anxious.

GUNMAN3 looks annoyed, absently touching a bracelet on his wrist.

GUNMAN2 stumbles and barely keeps his balance. GUNMAN1 and GUNMAN4 turn and start running. GUNMAN2 follows.

EXT. OTHER ROAD

CALLIOPE stops the motorcycle across the street from the trucks and walks it into the trees.

Her mobile beeps, reminding her of a message.

EXT. NEAR OTHER ROAD

CALLIOPE stands in the trees looking at her mobile screen.

AUGIE V.O.

Four men tracked the mobile. Need back-up.

CALLIOPE opens her holster bag and removes a bottle of water.

INT. HOLSTER BAG

There is a gun and miscellaneous in the bag.

EXT. SIDE OF SEASIDE HOUSE

NATE'S (MAN1) singing stops.

AUGIE stands in the tree line watching GUNMAN3 look in a window.

INT./EXT. BALCONY

NATE'S (MAN1) stands in the open door listening.

GUNMAN3 can be heard faint around the side of the house.

NATE'S (MAN1) looks annoyed. And steps back.

INT. NURSERY

NATE'S (MAN1) crosses the nursery to shelf with a plush toy and a jewelry box.

He opens the box and removes a round, shimmering disc an inch-and-a-half in diameter (3.81 cm). It looks like scales from a highly venomous sea snake.

NATE'S (MAN1) rubs his thumb over the coin as he walks toward the windows above GUNMAN3.

EXT. SIDE OF SEASIDE HOUSE

GUNMAN3 looks up as a window opens in the nursery.

NATE

What do you want?!

GUNMAN3 looks like he's not sure what to expect.

NATE

Constantino is dead!

GUNMAN3 shifts, making a sound.

INT. NURSERY

NATE'S (MAN1) throws the coin out the window...

EXT. SIDE OF SEASIDE HOUSE

Toward GUNMAN3.

It shimmers in moonlight, transfixing GUNMAN3.

When it hits the ground, it turns into a shadow snake.

GUNMAN3 backs away, unable to takes his eyes off the snake.

The snake touches him and he screams. He turns and runs crashing through the woods.

The coin remains on the ground where it landed.

EXT. WOODED AREA

GUNMAN1 runs for his truck. He sees CALLIOPE and stumbles over his own feet. Fumbling his gun. And falls. He's terrified.

She smiles, walking toward him.

CALLIOPE uses the Tidelander voice ability.

CALLIOPE

Why are you here?

GUNMAN1

To find Constantino. He has information for Mr. Arsenault. And wants too much money.

He pushes himself up off the ground.

She moves closer.

CALLIOPE

What information?

GUNMAN1 shakes, looking like he might pass out.

GUNMAN1

Our search of the bay. Brown was hired by someone to spy on us. Photographs. Research. He was killed before telling us where he had it. Constantino located it.

CALLIOPE crouches down and looks GUNMAN1.

CALLIOPE

What does Arsenault want?

GUNMAN1

To kill Tidelanders.

He passes out.


	14. Chapter 14

ACT 4

INT. THE DEVIL'S TAIL BAR - NIGHT

It's awkward. And tense.

GANNON stands behind the bar.

LAMAR sits on a stool facing him.

DYLAN sits near CALLIOPE'S seat from earlier. He looks worried.

The bar's cordless phone rings. DYLAN and LAMAR look at GANNON as he walks over to answer it.

GANNON

The Devil's Tail.

KYLIE O.S.

Evening. I need to speak with Calliope or Augie. They're not answering their phones.

GANNON

They're not here. Do you want to talk to Lamar?

INT. POLICE STATION / KYLIE'S OFFICE

KYLIE sits behind her desk talking on the desk phone.

KYLIE

Everything all right?

She has video footage on her computer screen. WOYTAL walks MAN2 out of the station in handcuffs.

INT. THE DEVIL'S TAIL BAR

GANNON

Complicated. 

He walks over and hands the phone to LAMAR.

GANNON

(quietly)

Kylie.

Suspicious, DYLAN moves over. 

INT. KYLIE'S OFFICE

KYLIE

What's wrong?

LAMAR O.S.

What do you need, constable?

KYLIE

Woytal called asking for information on Constantino. Any idea why he's on dirty fed radar?

INT. THE DEVIL'S TAIL BAR

LAMAR looks up making eye contact with GANNON.

LAMAR

Possibly. 

(A beat)

Is he returning to town?

INT. KYLIE'S OFFICE

KYLIE looks worried, She hadn't thought of that.

KYLIE

I don't know. 

She absently touches the wound site from the attack on the police station.

KYLIE

I need to find someone who understands Murdoch's file notes. Or knew how he operated.

INT. THE DEVIL'S TAIL BAR

LAMAR closes his eyes. 

LAMAR

Paul would not have confided the details. His secrets kept him alive.

GANNON sets a hand on LAMAR'S.

INT. KYLIE'S OFFICE

KYLIE

I'm sorry.  I didn't realize you knew him. 

(hesitates)

Do you know if he kept other files?

INT. THE DEVIL'S TAIL BAR

GANNON takes the phone back.

GANNON

If you have to talk about Paul, talk to Augie.

KYLIE O.S.

What am I missing?

LAMAR

(quietly)

Tell her.

GANNON squeezed LAMAR'S hand.

GANNON

Paul died protecting Lamar.

GANNON ended the call.

INT. SECURITY ROOM 

NATE (MAN1) looks at the security screens.

CALLIOPE approaches the house dragging GUNMAN1 and GUNMAN4 by their arms.

He laughs.

EXT. SEASIDE HOUSE

AUGIE meets CALLIOPE near the front corner of the house. 

She removes a small roll of tape from her holster bag.

AUGIE restrains GUNMAN2 and GUNMAN4.

INT. BASEMENT ROOM

NATE (MAN1) opens the door.

LAURA sits on the opposite side of the room from ANGEL.

NATE

Your rescue arrived. Out front.

He crosses the room to ANGEL, leaving the door open behind him.

LAURA eyes the door a moment before getting up and running for the door.

NATE picks up the car-seat and walks out following the running footsteps.

EXT. SEASIDE HOUSE

The door opens. 

CALLIOPE walks to the house as LAURA runs away.

AUGIE holds out his arms and she runs to him. They hug. 

CALLIOPE enters the house.

INT. SEASIDE HOUSE / ENTRYWAY

CALLIOPE looks around.

Footsteps are heard upstairs.

She walks over to the stairs and walks up.

EXT. WOODED AREA

AUGIE and LAURA walk into the woods toward AUGIE'S truck.

INT. NURSERY

The balcony doors are closed. 

NATE (MAN1) places ANGEL carefully in her crib.

The inside door opens. CALLIOPE enters and looks around. Whatever she expected to find, it wasn't a nursery.

NATE

No screaming. Please.

He looks up from the crib.

NATE (CONT'D)

It does not affect me. But will hurt Angel.

She crosses her arms casually. 

CALLIOPE

You abducted Laura to babysit? You couldn't just hired someone?

NATE (MAN1) walks over to her. 

NATE

I needed a nanny. She has a target on her back. 

He shrugs.

She doesn't buy it.

EXT. WOODED AREA

AUGIE keeps a grip on LAURA'S hand and eyes the woods warily. 

Movement to right catches his attention. 

He stops and listens. 

Normal night sounds have returned. 

He uses his hand to guide LAURA behind him. As he approaches where he saw the movement.

CONSTANTINO'S phone sits on the ground, screen up. Showing a recent text message.

INT. STAIRS

They walk downstairs.

CALLIOPE

Where's Constantino?

NATE

(off-handedly)

The backyard. 

(A beat)

He betrayed both of us.

INT. RAYMOND'S RENTAL HOUSE 

RAYMOND sits watching a WOMAN in a short robe make dinner.

His mobile rings. He picks it up, checks the screen and answers it.

RAYMOND

Do you have him?

GUNMAN3 sounds shaky.

GUNMAN3 O.S.

No. The mobile was hidden in a tree. In the middle of nowhere.

RAYMOND hadn't expected that.

GUNMAN3 O.S. (CONT'D)

I didn't see Constantino or the woman. 

(A beat)

We were caught between a serpent and a Tidelander. I lost two men.

RAYMOND sets a hand over his face.

RAYMOND

Who won?

INT. GUNMAN1'S TRUCK

GUNMAN3 waited until the call ended.

GUNMAN2

We need to get get out of this town.

Shadows move on the floor of the truck.

INT. KITCHEN

NATE leads into the kitchen.

NATE

This was not how I wanted to meet. 

Restless, he moves over to the fridge.

NATE (CONT'D)

Our people have a long history of problems. The only truce involved mutual enemies. Usually humans. 

He opens the fridge.

NATE (CONT'D)

Fighting them instead of each other has not always worked.

CALLIOPE

Talking is better then invading my dreams.

NATE stands up. Confused, he looks at her over the fridge door.

NATE

My abilities do not affect you. Not directly. With artifacts, I could cause you problems. But I manipulate  emotions and cause hallucinations. 

CALLIOPE crossed her arms.

CALLIOPE

Then why am I dreaming of magical snakes with cryptic messages?

NATE

I have no idea.


	15. Chapter 15

ACT 5

INT. POLICE STATION / BREAK ROOM - NIGHT

Kylie enters the break room. Still uneasy about it.

She crosses the room to the coffee pot.

A dented section of baseboard near where KYLIE fell (when she was shot) is pushed forward as a shadow snake moves.

She jumps as it hits the floor.

KYLIE turns and looks around. She waits, listening.

Then walks over. But hesitates, remembering.

INT. FLASHBACK OF BREAK ROOM

Footage from episode 1.

KYLIE slides to the floor grimacing from the pain and bleeding.

INT. BREAK ROOM

Reluctant, KYLIE moves over to the storage space.

She crouches down and removes several old magazines with naked women on the front.

After hesitating a moment, she lays on the floor to look in.

INT. SECRET HIDING SPACE

On the left and right side of the opening is a box that's just small enough to slide into the wall.

KYLIE reaches toward the box on the right.

INT. BREAK ROOM

KYLIE sits up and pulls the box out of the wall.

She opens it revealing an old ledger. (It's similar to the one MRS MCTEER showed LAURA as part of the introduction to the widows group.)

She stands and sets the ledger on the table. Then lifts the cover.

INSERT: It has the name of the museum.

And pages through the list of artifacts received with descriptions. The dates are from the 50s and earlier.

INT. AUGIE'S TRUCK

AUGIE'S driving.

AUGIE

Check the text messages.

LAURA looks overwhelmed. She stares at the mobile.

AUGIE

We need to know what the gunman wanted.

EXT. SEASIDE HOUSE

CALLIOPE and NATE (MAN1) drag GUNMAN1 and GUNMAN4 into the house.

INT. DINING ROOM

Blood mars the wall and floor where CONSTANTINO died.

NATE pulls up GUNMAN1'S sleeves and than checks for a necklace. He tugs a medallion free. A metallic sound as it breaks.

The moved to GUNMAN4. And didn't find one.

CALLIOPE thinks out loud looking at GUNMAN1.

CALLIOPE

Why did he run from me? If he was wearing it, he thought it would work.

NATE smiles, setting the broken necklace on the table.

NATE

I heightened their anxiety to the point of fear. He must have recognized you. If he thought about the medallion at all, he wasn't confident it worked.

CALLIOPE looks at NATE as he walks back over.

CALLIOPE

How do you know?

NATE

I grew up traveling among archeology sites and museums.

My family robbed graves and smuggled antiquities.

(A beat)

Part of it was separating magic from mundane.

CALLIOPE

Where did it come from?

NATE

A counterfeiter in Sydney. She's good. She can replicate anything. But if the person doesn't know how it works, it's hit and miss.

INT. POLICE STATION

AUGIE holds open the door and LAURA enters the front area first.

KYLIE steps out of the hallway and stares at LAURA.

AUGIE

It's a long story.

KYLIE

I bet.

(A beat)

Is there a mess to clean up?

AUGIE

No.

KYLIE

Good.

(A beat)

I have something to show you.

She turns toward her office.

LAURA looks at AUGIE. Whatever she was expecting, that wasn't it.

INT. THE DEVIL'S TAIL BAR

DYLAN'S mobile rings. He grabs it and answers.

DYLAN

Are you all right?

CALLIOPE O.S.

Yeah. Nate and I are questioning two of Arsenault's guys.

(A beat)

You need to pick up your bike. I left it by their truck.

He's not happy.

DYLAN

You left my bike...

(A beat)

Where are you?

He stands, looking at LAMAR.

INT. BREAK ROOM

AUGIE stands at the table flipping through the ledger.

AUGIE

How did you find this?

She doesn't know how to explain.

KYLIE

The panel fell off.

He looks at the wall.

EXT. OTHER ROAD

LAMAR'S SUV parks with DYLAN'S bike between it and the remaining truck.

INT. LAMAR'S SUV

GANNON sits in the driver seat with LAMAR next to him.

GANNON

Nate's house is near the beach.

He motions through the windshield.

DYLAN opens a back door and climbs out.

GANNON sets a hand on LAMAR'S knee. It's awkward because they need to have a conversation they don't know how to have.

EXT. OTHER ROAD

DYLAN stands over his bike, putting his helmet on.

An indistinct figure stands in the background watching.

After he starts his bike, GANNON backs the vehicle up and turns around.

INT. BREAK ROOM

AUGIE sits looking through the entries.

KYLIE brings LAURA a cup of tea and sits across from her.

KYLIE

Want to talk about it?

LAURA cups the tea with her hands and stares at it.

LAURA

Is Oliver dead?

KYLIE nods.

KYLIE

Yeah.

LAURA'S hands shake.

LAURA

When they grabbed me, they said I was lucky I wasn't with him.

KYLIE held out her hand.

KYLIE

Do you want to see a doctor?

LAURA

They didn't...

(A beat)

Hurt me.

KYLIE

What did they want?

LAURA shook her head.

KYLIE

You're safe.

LAURA

No, I'm not.

She looks up, meeting KYLIE'S eyes.

LAURA (CONT'D)

I know too much.

INT. KITCHEN

NATE and CALLIOPE sits at the table. He's eatings.

He looks up suddenly at the faint sound of a motorcycle.

NATE

Your boyfriend is here.

CALLIOPE stands, keeping her expression neutral until she turns away. She's annoyed.

EXT. SEASIDE HOUSE

CALLIOPE steps out of the house as DYLAN removes his helmet.

She strides over to him.

CALLIOPE

Why are you here?

He moves off his bike. He isn't happy.

DYLAN

Why are you?

CALLIOPE

Information. Nate knows about the medallions. If he's telling the truth, he knows where they came from. Maybe he knows how to break them.

DYLAN

Why would he tell you?

CALLIOPE

Mutual enemy.

(A beat)

You need to go.

He doesn't believe what he's hearing.

DYLAN

He manipulates you.

CALLIOPE

Now.

He glares at her.

INT. NURSERY

The French doors open seemingly by themselves from the outside. A shadow snake slithers into the room.

A woman's singing can be heard from outside.

ANGEL responds to the singing.

INT. KITCHEN

NATE tilts his head as if hearing something. Worried, he quickly stands and runs toward the door.

INT. STAIRS

NATE runs up the stairs.

INT. NURSERY

It's quiet.

NATE first notices the open door. He looks around nervously.

When he sees nothing, he walks over and closes the door.

ANGEL makes the singing-like sound.

NATE starts singing a hauntingly beautiful tune as he walks toward the crib.

The disc that looks like sea snake scales rests on top of one of the crib supports.

His voice falters, disrupting his song. As fear fills his face.

ANGEL makes an unhappy sound.

KNOCK.

The door opens and CALLIOPE enters.

CALLIOPE

Everything okay?

NATE grabs the coin. Forcing a neutral expression on his face before turning.

NATE

Yeah.


	16. Skin Deep

**Notes for the Chapter:**

> This episode is a bit different. It's more psychological. I'm hoping it works. I lost all of my notes when my computer crashed. I had to recreate everything. Input is greatly appreciated.

ACT 1

FADE IN:

INT. ORPHELIN BAY - NIGHT

A DIVER with tank and mask wears multiple anti-Siren symbols. He digs around an ornate box. It looks metal, but it's not showing exposure damage.

The box shifts towards him and latch pops. Eerie light shows from the opposite corner.

An eel-like form made of light slips from the box. It swims right at DIVER.

By the time he sees it, it's too late to move. The light goes right through his face mask and enters through one of his eyes.

The look of horror passes. Both of his eyes glow briefly.

No longer interested in the box, he swims for the surface.

EXT.  ORPHELIN BAY

An anchored fishing boat, with salvage modifications, moves with the gentle waves. 

DIVER climbs back on the boat. 

INT/EXT. FISHING BOAT

An indistinct person moves over to DIVER.

Light fills DIVER'S eyes as he removes his mask. The indistinct person backs up and the light increases, expanding over the ship...

INT. BIJOU'S TRAILER

BIJOU wakes up screaming.

EXT. L'ATTENTE

As the screaming continues, lights flicker on.

INT. QUEEN'S HOUSE

DYLAN steps out of the office looking like he slept there. He's wearing a shirt and pants.  He pulls on his boots. 

EXT. L'ATTENTE

The screams stops as DYLAN runs from the queens house to BIJOU'S trailer. 

EXT. BIJOU'S TRAILER

GILES stands next to it, holding BIJOU up. She's shaking.

DYLAN

What happened?

BIJOU

(scared)

One of the salvage diver...

GILES

Woke evil.

BIJOU passes out. DYLAN moves over to help as GILES struggles to keep her up.

DYLAN picks her up. And starts back toward the Queen's house with GILES hurrying to keep up.

INT. DEVIL'S TAIL / OFFICE

GANNON and LAMAR sits together on a folded blanket on floor. With their backs to the desk. They look tired.

ANGEL and the car-seat are on the desk.

GANNON

I didn't intend this. I applied for the job to make eventual contact easier. 

LAMAR

We moved too fast.

GANNON holds out his hand.

GANNON

Is it too late?

LAMAR accepted his hand.

LAMAR

I do not know.

INT. DEVIL'S TAIL

CALLIOPE and NATE sit at the bar picking at different sides of a large plate nachos (or whatever is regionally appropriate.) They look tired.

CALLIOPE

What's the story with the baby? 

NATE

She's an orphan.

CALLIOPE

How did her parents die?

NATE

Hunters found a nest and destroyed the community. We were visitors. Angel's mother was seriously injured and didn't survive labor. 

She nods.

CALLIOPE

Bullshit. Your nursery has two cribs. Constantino was protective of Violca because of her baby. 

She eats a chip while he talks.

NATE

Your unconventional upbringing changed L'Attente. Raising the children together can unite our people.

CALLIOPE

And Violca?

He shrugs.

NATE

She would betray you without a second thought.

Her cell phone rings. 

CALLIOPE

I won't barter her baby.

She picks it up and checks the screen before connecting. 

CALLIOPE

I'm at the Tail.

DYLAN O.S.

Bijou woke screaming. Something happened in the bay. 

She stands.

CALLIOPE

I will be there as soon as possible.

The call disconnects. She looks at her phone, annoyed.

NATE

(amused)

Your lover is jealous?

She speaks as she stands.

CALLIOPE

Angry. 

(A beat)

I will call you later.

She starts walking toward the office.

CALLIOPE

Stay away from Violca.

She stops walking as she remembers something.

CALLIOPE

Hire a babysitter this time.

NATE laughs.

INT. DEVIL'S TAIL / OFFICE

CALLIOPE'S footsteps are audible as she approaches.

LAMAR releases GANNON'S hand and stands.

GANNON

Call me.

LAMAR nods.

INT. LAMAR'S SUV

LAMAR drives.

CALLIOPE

You need to be careful. We can't trust Nate. 

LAMAR

Yes, madam. 

She gives it a moment.

CALLIOPE

Are you all right?

LAMAR

I will be. 


	17. Chapter 17

INT. AUGIE'S HOUSE / HALLWAY OUTSIDE BEDROOM - NIGHT

B.g. LAURA'S having a nightmare.

AUGIE strides down the hallway and steps into the doorway. He's wearing pants but no shirt or shoes.

INT. BEDROOM

LAURA'S kicks at the sheet in her sleep. 

AUGIE crosses the room and carefully moves onto the bed. He pins both arms to her side.

AUGIE

Laura!

She wakes with a start and thrashes until realizing it's AUGIE. 

AUGIE

You were having a nightmare.

He releases her. And retreats.

She rubs her face.

LAURA

I hear this woman singing...

She doesn't know how to explain.

He sits on the edge of the bed.

She pushes herself up.

LAURA

She's angry I left Angel.

He sets a hand lightly on her shoulder.

AUGIE

It's over.

She shakes her head.

His phone vibrates. He finds it in his pocket and checks the screen.

AUGIE

Morning.

KYLIE O.S.

The volunteer coast guard received several reports of a boat explosion. They found an anchored boat with no damage and no one on-board. 

(A beat)

I forwarded the pictures.

AUGIE stands.

AUGIE

Give me a few minutes.

KYLIE O.S.

How's Laura?

AUGIE motions at the phone.

AUGIE

Kylie.

(A beat)

Having nightmares.

LAURA reaches for a lamp on the bedside table and switches it on while she speaks.

LAURA

Go.

INT. QUEEN'S HOUSE

CALLIOPE enters ahead of LAMAR. 

The office is open and the light's on, but not one is there.

INT. DINING ROOM

GILES and BIJOU sit at the table. She's drawing.

CALLIOPE heads for the kitchen.

LAMAR moves over to the kids.

INT. KITCHEN

DYLAN stands at the counter cutting fruit. Two cups of juice sit next to the plate.

It's tense.

INT. DINING ROOM

LAMAR sits next to BIJOU. Across from GILES.

She's drawing a picture of the cracked box in the bay.

LAMAR

What happened?

GILES looks at LAMAR.

GILES

She can't talk about it. 

(A beat)

She'll pass out again.

LAMAR nods.

LAMAR

Has she drawn more?

INT. KITCHEN

CALLIOPE

Talk to me?

DYLAN

Why? You don't listen.

CALLIOPE

We need to deal with Nate. 

DYLAN disagrees.

DYLAN

He needs to leave. 

CALLIOPE

Are mad about your bike? Or jealous, Dylan?

He drops the knife with a clang and turns around to look at her.

DYLAN

You are arrogant. We have no idea what they can do. Or what they want. 

(A beat)

Gannon gets a job at the bar and focuses on Lamar. Why? How does he know about Arsenault?  Why is he trying to bribe Gannon? 

(A beat)

The downside to Adrielle's death is we don't know her enemies. Lamar keeps secrets. Violca lies.

He motions toward the dining room.

DYLAN

Bijou thinks the hunters released some type of creature. That  ate them.

INT. AUGIE'S HOUSE / DINING ROOM

AUGIE sits at the table with his laptop and a gun next to it.

After clicking through images, he picks up his laptop to get a closer look at the boat.

His phone vibrates. 

He sets the laptop down and reaches for his phone. After checking the screen, he connects.

AUGIE

Hey. I don't recognize it. It looks modified. Possibly for salvage. 

KYLIE O.S.

Bardo is checking with rental companies. 

(A beat)

The responding captain is retired navy. He thinks there's a mini sub out there. 

AUGIE

A salvage crew after items buried by L'Attente.

KYLIE O.S.

Did Cal behind this?

INT. DINING ROOM

LAMAR looks through BIJOU'S sketchbook while she draws on a single sheet of paper.

He stops at a picture of what looks like a boxes at the bottom of the bay.

LAMAR

Do you know what's in these?

BIJOU looks up, she's still shaky.

BIJOU

Evil.

LAMAR

Artifacts?

GILES

The hunters were lied to.


	18. Chapter 18

EXT. RAYMOND'S RENTAL HOUSE - MORNING

The door's been kicked open. 

WOYTAL parks in front of the house. 

INT. WOYTAL'S CAR

WOYTAL grabs an artifact from the cup holder. Then unholsters his gun. Before opening the car door.

EXT. RAYMOND'S RENTAL HOUSE

WOYTAL steps out and listens. Hearing nothing, he steps around the open car door. Gripping the artifact in his left hand and the gun in his right.

He approaches the door slowly, holding his gun in front of him. And pushes it open with his left hand.

Then hesitates as he sniffs, smelling something unpleasant.

INT. RAYMOND'S RENTAL HOUSE / HALL

It looks normal until he reaches the living room.

INT. LIVING ROOM

There is blood everywhere like someone exploded.

A YOUNG WOMAN lay on her side wearing a thin, short robe.

WOYTAL walks checks the room.

YOUNG WOMAN opens her eyes. They glow like DIVER'S.

She sits up suddenly as WOYTAL moves over to her.

YOUNG WOMAN speaks with an emotionless voice.

YOUNG WOMAN

Tell your masters this land belongs to the old gods. You are not welcome here.

WOYTAL shoots. 

Light reaches out from her and the bullets explode.

YOUNG WOMAN

Leave before I change my mind.

WOYTAL backs out of the room.

INT. HALL

WOYTAL backs out of the house.

INT. QUEEN'S HOUSE / GUEST ROOM

LAMAR tucks the kids into a double bed. 

Then walks out of the room.

INT. HALL OUTSIDE THE GUEST ROOM

CALLIOPE waits until LAMAR closes the door.

CALLIOPE

Any idea?

They start walking.

INT. HALL - CONTINUOUS

LAMAR

There are many stories of beings and beasts of the sea. Too many to learn.

(A beat)

Our immediate concern is not who or what buried secrets. 

CALLIOPE 

Nate claims he wants to unite our people. What if someone sent Arsenault here to prevent that? 

LAMAR

Or the opposite. A common enemy forces us to work together.

EXT. RURAL ROAD

YOUNG WOMAN staggers, disoriented through the grass by the side of the road. She's caked with dried blood.

BARDO parks his police truck down the road from her.

He climbs out holding his cell phone. The line's open.

BARDO

Ma'am.

YOUNG WOMAN doesn't react.

BARDO approaches slowly and speaks into his cell phone.

BARDO

She's non-responsive.

He looks passed her. There are footprints in the grass and flakes of blood.

BARDO

But easy to track.

KYLIE O.S.

Be careful. She may react badly. Try to get her into the truck, if possible. 

EXT. BEHIND OLD HOUSE

AUGIE parks his truck. LAURA rides in the passenger seat. She looks overwhelmed.

INT. AUGIE'S TRUCK

AUGIE

Jackson's using the basement to track treasure hunters. They're connected to Kylie's investigation and the threat to L'Attente.

LAURA unfastens her seat belt.

LAURA

As long as you don't leave me alone. It's not safe.

INT. BASEMENT

AUGIE enters with LAURA close behind. 

It looks pretty much the same, but it's getting more cluttered and less organized.

JACKSON sleeps on the floor. He wakes as they enter.

AUGIE

Do you know what's happening?

JACKSON looks afraid and exhausted.

JACKSON

The hunters are running.

EXT. RURAL ROAD

KYLIE parks her police car behind BARDO'S truck. An ambulance is parked in front.

PARAMEDICS remove YOUNG WOMAN, wrapped in a blanket, from the passenger seat of the truck.

BARDO walks over to KYLIE.

BARDO

(quietly)

None of the blood is hers. 

(A beat)

Her injuries are mental not physical.  I wrapped her in a blanket and picked her up. She never made a sound.

KYLIE

Did you get a picture of her?

BARDO holds out his cell phone.

BARDO

I don't want to show that to anyone who might know her. 

The paramedics load YOUNG WOMAN into the back of the ambulance.

KYLIE takes the phone from him to look at the picture.

KYLIE

She's young.

BARDO motions down the road.

BARDO

The nearest house is a fancy rental. With that much blood, someone's dead.

KYLIE

How bad is it that I'm hoping the kid did it in self defense?


	19. Chapter 19

INT. SECRET LIBRARY - DAY

It has old books and map cases. With a small table with one chair in the middle.

CALLIOPE sits at the table while LAMAR looks at the titles.

He selects a book. Then moves over to the table and pulls out a chair across from her.

CALLIOPE

We need to find out who speaks what languages. 

LAMAR

L'Attente has no scholars. 

CALLIOPE

(suspicious)

Nate.

(A beat)

He claims to have experience with archeology, artifacts and museums.

He hesitates.

CALLIOPE

Say it.

LAMAR

Simple observation would show that we focus on personal pursuits and pleasure. 

CALLIOPE

He could have set us up to need him.

LAMAR

Someone did.

INT. BASEMENT

AUGIE holds out his phone with a picture KYLIE sent of the boat.

AUGIE

What can you tell me about this boat?

EXT. RAYMOND'S RENTAL HOUSE

KYLIE and BARDO park in front.

INT. LIVING ROOM

KYLIE and BARDO stop in the hallway staring at the blood. Foot prints show where YOUNG WOMAN walked and WOYTAL.

INT. GANNON'S HOUSE / KITCHEN

NATE holds ANGEL and sings softly. As he makes her a bottle.

GANNON steps into the doorway and crosses his arms.

GANNON

Who's baby?

NATE

She's from the destroyed nest. 

GANNON

(emphasizes)

Why do you care?

ANGEL starts to fuss. NATE starts feeding her.

NATE

Sasha didn't survive.

GANNON stares at him.

GANNON

Do you know who her grandmother is? What she is?

He shakes his head in disbelief.

GANNON

Calliope's visions. Nightmares. 

(A beat)

Thalia could cause most of what's happening. It makes more sense than a group of hunters go looking for treasure and get themselves killed.

NATE shrugs.

GANNON

(emphasizes)

You lied to me.

(A beat)

You're still lying to me.

NATE turns, trying to keep his temper while feeding the baby.

NATE

We're here to ensure our survival. Hunters weren't the primary problem at the last nest. If there hadn't been an internal conflict, they would have survived. The hunters found a weakness and exploited it.

GANNON

So your solution is to disrupt a Tidelander community?

NATE

No. We can learn from each other. 

GANNON nods. He's not buying it.

GANNON

Where did you get  this idea?

INT. AUGIE'S TRUCK

AUGIE looks worried.

LAURA

Why would organized crime care? There's no money for them here. With Adrielle dead, the Tidelanders aren't interested in anything outside of Orphelin Bay.

AUGIE

Money, power, revenge.

He shakes his head.

LAURA

Nate... 

Mentioning his name makes her shaky. She closes her eyes.

LAURA

I keep asking myself why. 

He reaches over and sets a hand on her knee.

AUGIE

You're safe.

She shakes her head, disagreeing.

LAURA

You know how you look at a situation and know it's wrong. Things don't fit. 

She takes a deep breath. Then opens her eyes and looks at him.

LAURA

I was held prisoner by a man who's whole focus is taking care of a baby. 

AUGIE

What are you thinking?

LAURA

The only one getting anything out of it is Angel. 

INT. SECRET LIBRARY

LAMAR stops reading.

LAMAR

Someone is building a nest.  A serpent community. Using the hunters.

CALLIOPE

Why's that bad?

He looks up from the book.

LAMAR

A nest includes different groups. With different abilities. And requirements. Like our mothers. Violca. They need humans to reproduce. Some require hosts.

(A beat)

L'Attente is full of women without children.

CALLIOPE

That heal. 

Anger flashes across his face.

CALLIOPE

I'm going to kill him.

LAMAR

(careful)

Madam. Nate and Gannon are from a patriarchal group.

(A beat)

Serpents like Tidelanders have female leaders.


	20. Chapter 20

INT. POLICE STATION - NIGHT

WOYTAL enters the police station. He looks worried bordering on scared.

KYLIE steps out of her office behind the front desk and stares at him.

He holds his hands out in front of him.

WOYTAL

I saw a police report that a young woman was found wandering covered in blood.

KYLIE

Why?

WOYTAL hesitates.

WOYTAL

I don't think she's human.

KYLIE finds her cell phone.

EXT. QUEEN'S HOUSE

AUGIE parks out front. 

INT. AUGIE'S TRUCK

LAURA looks out the window anxiously.

LAURA

They killed Zack.

AUGIE

Leandra did. She's dead.

He releases his seat-belt.

AUGIE

This is the safest place for you right now.

INT. QUEEN'S HOUSE / BATHROOM

CALLIOPE stands in the bathroom wrapped in a towel. She dries her hair on another one.

KNOCK.

She looks toward the bedroom.

INT. CALLIOPE'S BEDROOM

AUGIE steps in.

AUGIE

Sis.

CALLIOPE steps out of the bathroom still drying her hair.

AUGIE

Kylie asked for help with a search. She has a missing woman. Woytal claims she's not human.

CALLIOPE

Find Lamar while I get dressed. He has information we need.

INT. QUEEN'S HOUSE / DINING ROOM

LAURA sits at the table across from BIJOU. She's drawing again and looks pale and tired.

GILES enters carrying two glasses of juice. He sets them on the counter and looks at LAURA briefly.

DYLAN steps into the dining room from the house and looks uneasy at LAURA. (He was with Leandra when she killed Zack.) DYLAN hesitates before walking toward the kitchen.

BIJOU looks up suddenly at LAURA.

BIJOU

You still hear the queen sing...

LAURA pushes her chair back suddenly and stumbles.

DYLAN turns and looks at LAURA as she moves. 

GILES looks at BIJOU worried.

As DYLAN hurries across the room to LAURA. She's pale and starts shaking. 

He catches her as she falls.

BIJOU

She owns you now.

INT. STORAGE ROOM

LAMAR crouches down and checks one of the containers holding items from a shipwreck. He removes a ring with a gem that resembles a snake eye.

A hissing sound is barely audible and he holds the ring and looks at the stone.

AUGIE steps into the door way (the secret panel.)

LAMAR stands.

INT. HALLWAY OUTSIDE BEDROOMS

CALLIOPE steps out of her bedroom. She's dressed. Her hair's still damp.

DYLAN carries LAURA toward a guest room.

CALLIOPE

What happened?

DYLAN

Ask Bijou.

INT. BOOK ROOM

It's adjacent to the storage room (where payments are given.)

AUGIE'S cell phone rings as LAMAR closes the secret panel. He's holding a ledger and the ring.

AUGIE quickly finds it and checks the screen. 

AUGIE

Did you find her?

INT. WOODED AREA

KYLIE crouches by human skin. A hospital gown lays nearby.

She moves one end of it with a stick and it looks like YOUNG WOMAN'S face.

KYLIE

I found something.

She stands.

KYLIE

Looks like Woytal was right. She wasn't human.

INT. BOOK ROOM

AUGIE listens and from his expression he doesn't want to believe what he's hearing.

AUGIE

I might know someone to ask.

He looks at LAMAR.

AUGIE

Be careful.

The call ends.

LAMAR doesn't look up from the ledger.

LAMAR

What?

AUGIE

Something shed human skin.

LAMAR looks at AUGIE as CALLIOPE enters the room.

CALLIOPE

A question for Nate and Gannon.

She crosses the room to her brother. As LAMAR finds his phone.

CALLIOPE

Dylan is upstairs with Laura. She collapsed.

AUGIE hurries out.

CALLIOPE turns to LAMAR.

CALLIOPE

Can we trust Gannon?

LAMAR stares at his phone. He's conflicted.

LAMAR

I do not know.


End file.
